CANADIAN TENORS: LIVE IN TORONTO | Song Montage | PBS The Canadian Tenors — Clifton Murray, Victor Micallef, Remigio Pereira and Fraser Walters — showcase their eclectic blend of classical and contemporary pop with several songs including "Adagio" and "O Sole Mio." Special guests David Foster and Sara McLaughlin join the Candian Tenors on stage for "Hallelujah." PremieringJune 2010 on most PBS stations (check your local listings at pbs.org Support your local PBS station now -- you make it possible for your PBS station to offer amazing performances and the opportunity to discover something new every day, whether on TV or online. To donate to your local PBS station, visit www.pbs.org
Mozart - Aria for Tenor and Orchestra "Va, dal furor portata" in C
Mozart - Aria for Tenor and Orchestra "Va, dal furor portata" in C Wolfgang Amadeus Mozart (1756 - 1791) Concert Aria for Tenor and Orchestra "Va, dal furor portata" in C major, KV 21 / 19c ·Allegro Tenor: Thomas Moser Leopold Hager / Mozarteum-Orchester Salzburg Orchestation: · 2 Oboes · 2 Cornos (C) · 2 Bassoons · Strings (optional Cembalo in the basso part) "Va, dal furor portata" is an early concert aria by Wolfgang Amadeus Mozart. It was written 1765 in London, during the Mozart family Grand Tour around Europe when Mozart was nine years old. The words are from Pietro Metastasio's Ezio, act II, scene 4. Pietro Metastasio's libretti are today associated almost exclusively with Baroque and early Classical settings, but they retained some of their popularity even into the early Romantic period, with both Rossini and Bellini utilizing them. This is one of the most operatic of Bellini's songs, with more than a few devices much more frequently found in arias than in his songs. The piece opens with a hurried piano introduction that immediately sets a theatrical mood, with dramatic chords. The vocal melody is first taken at a quick pace and is generally simple, though it ends with a few rather theatrical reprises with dramatic changes of dynamics and tempo. The da capo repetition ends with overtly operatic touches from both voice and accompaniment, including the traditional operatic thundering flourish of an ending from the piano. ~ Anne Feeney, All Music Guide Va, dal furor portata, Palesa il tradimento; Mat ti sovvenga ingrata, Il traditor ...
Samuel Barber's Adagio for Strings - The Celtic Tenors
Samuel Barber's Adagio for Strings - The Celtic Tenors Adagio for Strings by Samuel Barber, arranged for three voices in six parts, sung by The Celtic Tenors.
DON GIOVANNI, MOZART - il Mio Tesoro by the Peruvian Tenor Luis Alva
DON GIOVANNI, MOZART - il Mio Tesoro by the Peruvian Tenor Luis Alva From Don Giovanni the Peruvian Tenor LUIS ALVA (Luigi Alva - Lima Peru April 4, 1927), as Don Ottavio, executing and singing "Il Mio tesoro" in France 1960. In this scene from Mozart's great opera Don Giovanni, Don Ottavio has become convinced that Don Giovanni was the person who killed his fiancee's father, and swears that he will make sure Donna Anna gets her revenge on Don Giovanni. www.italianbusinessguide.com DON GIOVANNI by MOZART, 1787 Don Giovanni music by Wolfgang Amadeus Mozart and libretto of Lorenzo da Ponte and Music 1787, a delicious opera example of Bel Canto music and melodrama Don Giovanni (il dissoluto punito, ossia il Don Giovanni, literally The Rake Punished, or Don Giovanni) a great opera in two acts with music by WOLFGANG AMADEUS MOZART and with an Italian libretto by LORENZO DA PONTE. It was premiered in the Estates Theatre in Prague on OCTOBER 29, 1787. Da Ponte's libretto was billed like many of its time as dramma giocoso, a term that denotes a mixing of serious and comic action. MOZART entered the work into his catalogue as an "opera buffa". Although sometimes classified as comic, it blends comedy, melodrama and supernatural elements. The Danish philosopher Søren Kierkegaard wrote in his book Enten -- Eller (Either/Or) that Mozart's Don Giovanni is "a work without blemish, of uninterrupted perfection."The finale, in which Don Giovanni refuses to repent, has been a captivating philosophical and artistic topic for many writers including George ...
Three Tenors singing- La donna e mobile
Three Tenors singing- La donna e mobile The Three Tenors is a name given to the Spanish singers Plácido Domingo and José Carreras and the Italian singer Luciano Pavarotti who sang in concert under this banner during the 1990s and early 2000s. The trio began their collaboration with a performance at the ancient Baths of Caracalla, in Rome, Italy, on July 7, 1990 -- the eve of the 1990 FIFA World Cup Final. Zubin Mehta conducted the Orchestra del Maggio Musicale Fiorentino and the Orchestra del Teatro dell'Opera di Roma.
Il Trovatore - Di quella pira - Vittorio Grigolo 'THE ITALIAN TENOR
Il Trovatore - Di quella pira - Vittorio Grigolo 'THE ITALIAN TENOR 2010年9月20日発売予定日本アマゾンで予約可: www.amazon.co.jp VITTORIO GRIGOLO: 'THE ITALIAN TENOR' DEBUT RELEASE ON SONY CLASSICAL Donizetti 'Una furtiva lagrima' (L'Elisir d'Amore) 'Spirto gentil' (La Favorita) Verdi 'Quando le sere al placido' ( Luisa Miller) 'Ella mi fu rapita' 'Possente amore' ( Rigoletto) 'Tutto parea sorridere' 'Si de' Corsari il fulmine' ( Il Corsaro) 'Forse le soglia attinse....ma se m'e forza perderti' ( Un Ballo in Maschera) 'Ah si ben mio coll'essere' 'Di quella pira' (Il Trovatore) Puccini 'Ecco la casa...torna ai felici di'(Le Villi) 'Donna non vidi mai'(Manon Lescaut) 'E lucevan le stelle' (Tosca) 'Firenze è come un albero fiorito'(Gianni Schicchi) 'Che gelida manina' (La Bohème)
Prelude from Bach's Cello Suite No. 1 on Irish Tenor Banjo
Prelude from Bach's Cello Suite No. 1 on Irish Tenor Banjo Ian Jones' adaption for banjo of Prelude from Suite No. 1 for the Unaccompanied Cello by Johann Sebastian Bach.
Rimsky-Korsakov Tenor Trombone: Rikard Holst
Rimsky-Korsakov Tenor Trombone: Rikard Holst Swedish trombonist Rikard Holst performs a splendid interpretation of the classical Rimsky-Korsakov piece. Here is the third movement.
Andreas Scholl | "Ombra mai fu", by Georg Friedrich Haendel (from
Andreas Scholl | "Ombra mai fu", by Georg Friedrich Haendel (from Andreas Scholl "A Voice amongst past, present and future" A Tribute for the 250th Death Aniversary of Georg Friedriech Haendel (London, April 14, 1759) Music: Aria "Ombra mai fu", by Georg Friedrich Haendel from opera "Xerxes" (1738) - The images at 2:14 and 2:22 ar works of the photographer Eric Larrayadieu - The images of sculptures represent some work of Giacomo Serpotta (1656 - 1732) from Santa Cita Chapel, in Palermo (Sicily). Andreas Scholl (born November 10, 1967) is a German countertenor, a male classical singer in the alto vocal range. He specialises in Baroque music. His range is the same as that of the celebrated 18th century alto castrato, Senesino, for whom Handel wrote his greatest alto roles. Fanfare Magazine says: "There are more excellent countertenors before the public today than ever before, but one stands out above all others, as Caruso among tenors a century ago: Andreas Scholl". More: en.wikipedia.org Andreas Scholl (nato il 10 Novembre del 1967) è un controtenore tedesco, ossia un cantante lirico classico capace di cantare nella tessitura per soprano. E' specializzato nel repertorio musicale barocco. La sua estensione vocale è la stessa del Senesino, celebre castrato del XVIII secolo, per il quale Georg Friedrich Haendel scrisse alcune delle sue più belle arie. Su Fanfare magazine è apparso il seguente giudizio: "Oggi ci sono tantissimi controtenori che si esibiscono davanti al pubblico, quanto mai era avvenuto prima d'ora, ma uno si distacca da ...
"Lucia Di Lammermoor" Vitas / Витас / "mad scene," "Il dol
"Lucia Di Lammermoor" Vitas / Витас / "mad scene," "Il dol YES, THAT'S a MAN Singing it. Latvian/Russian sensation Vitas He has the most AMAZING countertenor voice I've ever heard! Russian pop singer, composer, actor, and fashion designer. He is most commonly known by his shortened first name, Vitas, or Витас in Russian. Much of his music is straightforward pop influenced by techno, and occasionally classical opera. Official Site: vitas.com.ru en.wikipedia.org