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
"From My Homeland" - Bedrich Smetana
"From My Homeland" - Bedrich Smetana The passionate "From My Homeland," 2nd Movement, by Bedrich Smetana. Gerald Elias, violin, Marjorie Janove, piano.
Fernando Sor: Etude Op 6 No 11
Fernando Sor: Etude Op 6 No 11 Fernando Sor: Etude Op 6 No 11. Study No. 17. Played by me, Samantha Muir. Photos by Josie Elias. Almond blossom time is one of my favourite times of the year and this is one of my favourite Sor pieces. Some of the photos were taken just yesterday! Hope you enjoy! This track is now available to download on iTunes itunes.apple.com for more info about me go to: www.samanthamuir.com www.josieelias.com
Aleluya de Haendel - Coro Juan D. Tercero - Facultad de Música
Aleluya de Haendel - Coro Juan D. Tercero - Facultad de Música Presentacion de Coros de la Facultad de Música de la UAT, alumnos de 1°,2° y 3° semestre. Direigido por el maestro Elias Argot Rico. Realizado el viernes 7 de Diciembre de 2007. En el aula Manuel Enriquez.
Madama Butterfly 1962: #7 Act II Intermezzo (Humming Chorus)
Madama Butterfly 1962: #7 Act II Intermezzo (Humming Chorus) Madama Butterfly 1962: #7 Act II Intermezzo. by Giacomo Puccini (libretto by Luigi Illica and Giuseppe Giacosa) This 1962 studio recording is with RCA Italiana Opera Chorus and Orchestra, with conductor Erich Leinsdorf. Principal cast: Leontyne Price, soprano: Madama Butterfly (Cio-Cio-San) Rosalind Elias, mezzo-soprano: Suzuki Richard Tucker, tenor: BF Pinkerton Philip Maero, baritone: Sharpless Piero de Palma, tenor: Goro
Joseph Haydn String Quartet op 76/3 'emperor' in C-major (mov 2/4)
Joseph Haydn String Quartet op 76/3 'emperor' in C-major (mov 2/4) Quatuor Mosaiques The Quartet No. 62 in C major, also known as Op. 76, no. 3, boasts the nickname Emperor, because in the second movement, Haydn quotes the melody from Gott erhalte Franz den Kaiser ("God Save Emperor Francis"), an anthem he wrote for Emperor Francis II. This same melody is known to modern listeners for its later use in the German national anthem, Deutschlandlied. The quartet consists of four movements: * I. Allegro * II. Poco adagio; cantabile * III. Menuetto. Allegro * IV. Finale. Presto The first movement of the quartet is in the home key of C major, in common time, and is written in sonata form. The second movement, in G major cut time, is in strophic variation form, with the "Emperor's Hymn" as the theme. The third movement, in C major and A minor, is a standard minuet and trio. The fourth movement, in C minor and C Major, is in sonata form. Joseph Haydn's string quartets, Op. 76, composed in 1796 and 1797, were commissioned by and dedicated to Count Joseph Erdody. The six quartets are the last complete set that Haydn composed. At the time of the commission, Haydn was employed at the court of Prince Nicolaus Esterházy II; around the same time he composed his annual mass for Princess Maria Hermenegild Esterházy and the oratorio The Creation. Although the quartets were completed by 1797, shown by accounts of visitors hearing them performed in early 1797, they were not published until 1799. Correspondence between Haydn and his publishers reveal that ...
Veronique Gens is amazing! Lamento Di Arianna by Monteverdi
Veronique Gens is amazing! Lamento Di Arianna by Monteverdi www.sublime-classical.com/forum Veronique Gens(soprano) Claudio Monteverdi Lamento di Arianna Emmanuelle Haim (conductor) Le Concert d'Astree (L'Arianna-1608) Lasciatemi morire! E chi volete voi che mi conforte in così dura sorte, in così gran martire? Lasciatemi morire! O Teseo, o Teseo mio, sì che mio ti vo dir, chè mio pur sei, benché tinvoli, ahi crudo! a gli occhi miei. Volgiti, Teseo mio, volgiti, Teseo, o Dio! Volgiti indietro a rimirar colei che lasciato ha per te la patria e il regno, en queste arene ancora, cibo di fere dispietate e crude, lascierà lossa ignude. O Teseo, o Teseo mio, se tu sapessi, o Dio! Se tu sapessi, ohimè!, come saffanna la povera Arianna, forsi forsi pentito rivolgeresti ancor la prora al lito. Ma, con laure serene tu te ne vai felice, et io qui piango. A te prepara Atene liete pompe superbe, et io rimango cibo di fere in solitarie arene. Te luno e laltro tuo vecchio parente stringeran lieti, et io più non vedrovi, o madre, o padre mio! Dove, dove è la fede, che tanto mi giuravi? Così ne lalta sede tu mi ripon de gli avi? Son queste le corone onde madorni il crine? Questi gli scettri sono, queste le gemme e glori? Lasciarmi in abbondono a fera che mi strazi e mi divori? Ah Teseo, a Teseo mio, lascierai tu morire, in van piangendo, in van gridando aita, la misera Arianna che a te fidossi e ti diè gloria e vita? Ahi, che non pur risponde! Ahi, che più daspe è sordo amiei lamenti! O nembi, o turbi, o venti, sommergetelo voi dentra quellonde ...
Beethoven Symphony no. 6 in F major 'pastoral' on period instrumen
Beethoven Symphony no. 6 in F major 'pastoral' on period instrumen Mov 1 www.youtube.com Mov 2 www.youtube.com Mov 2 continued www.youtube.com Mov 3&4 www.youtube.com Mov 5 www.youtube.com Dec 16, 1770 Beethoven was born (238 years ago) Franz Bruggen Orchestra of the 18th century The finale is in F major and is in 6/8 time. The first eight bars form a continuation of the introduction of which the storm was the main part; the finale proper begins in the ninth bar. The movement is written in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. There is a very long coda; the "tail that wags the dog". Like many classical finales, this movement emphasises a symmetrical eight-bar theme, in this case representing the shepherds' song of thanksgiving. The mood throughout is unmistakably joyful. The coda, which Antony Hopkins has called "arguably the finest music of the whole symphony," starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus "storm instruments"), with the first violins playing very rapid triplets at the top of their range. There follows a fervent passage suggestive of prayer, marked by Beethoven "pianissimo, sotto voce"; most conductors slow the tempo for this passage. After a brief period of afterglow, the work ends with two emphatic chords.
7 Which of Mozart's overtures is the very best?
7 Which of Mozart's overtures is the very best? All are conducted by Neville Marriner with the ASMF Idomeneo Overture Idomeneo, re di Creta ossia Ilia e Idamante (Italian: Idomeneo, King of Crete, or, Ilia and Idamante; usually referred to simply as Idomeneo, K. 366) is an Italian opera by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as Idoménée in 1712. Mozart and Varesco were commissioned in 1780 by Karl Theodor, Elector of Bavaria for a court carnival. He probably chose the subject, though it might have been Mozart.[1] It was first performed at the Cuvilliés Theatre of the Residenz in Munich on January 29, 1781. Written when the composer was 24, Idomeneo was Mozart's first mature opera seria, and with it he demonstrated his mastery of orchestral color, accompanied recitatives, and melodic line. In certain respects (eg, the choirs), however, this opera is still an experimental drama, resulting more in a sequence of sets than in a well developed plot. Mozart also had to fight with the mediocre author of the libretto, the court chaplain Varesco, making large cuts and changes, even down to specific words and vowels disliked by the singers (too many "i"s in "rinvigorir").[2] Idomeneo was performed three times at Munich, and later in 1781 Mozart considered revising it to harmonise it with Gluck's style. This would have meant a bass Idomeneus and a tenor Idamantes, but nothing came of it. A concert performance ...
Beethoven Piano Concerto 5 'Emperor' on Period Instruments (1/4)
Beethoven Piano Concerto 5 'Emperor' on Period Instruments (1/4) The Piano Concerto No. 5 in E-flat major, op. 73 by Ludwig van Beethoven, popularly known as the "Emperor Concerto", was his last piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven's patron and pupil. The first performance took place on November 28, 1811, at the Gewandhaus in Leipzig. In 1812, Carl Czerny, his student, gave the Vienna debut of this work. The concerto is scored for solo piano, two test flutes, two oboes, two clarinets in b-flat (Clarinet I playing Clarinet in A in movement 2), two bassoons, two horns, two trumpets, timpani in E-flat and B-flat, and strings. The "Emperor" is divided into a standard three movements: I. Allegro [ midi ] (E flat major) II. Adagio un poco mosso [ midi ] (B major) III. Rondo: Allegro ma non troppo [ midi ] (E flat major) As with Beethoven's other final concerti, this work has a relatively long first movement. (At twenty-five minutes, the Violin Concerto has the longest; Piano Concerto Nos. 4 and 5 each have opening movements about twenty minutes long.)