Minuet - Luigi Boccherini - String Quintet in E Major, Op.11 No.5
- Classical music composed by Luigi Boccherini For David "Menuet" - Luigi Boccherini ( 1743-1805) Minuet Minuetto String Quintet in E Major Op. 11 No.5 Classical
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Sumi Jo - Verdi - La Traviata - Violetta - Sempre Libera
"Ah! Fors'e lui"
"Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
"Ah! Fors'e lui""Sempre Libera"
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Maria Callas - La Traviata
Maria Callas (1923-1977)
Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Maria Callas (1923-1977)Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Luciano Pavarotti - La Donna è Mobile Rigoletto
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).
La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
Gracia - William Tell Overture
Rossini's classical piece performed by three talented violin player ladies from Hungary
Rossini's classical piece performed by three talented violin player ladies from Hungary
Luigi Boccherini - Menuet, from String Quintet No. 5 in E.
Luigi Rodolfo Boccherini (February 19, 1743 May 28, 1805) was an Italian classical era composer and cellist whose music is known for a courtly and galante style. Boccherini is most widely known for one particular minuet from his String Quintet in E, Op. 11, No. 5 (G 275).
Luigi Rodolfo Boccherini (February 19, 1743 May 28, 1805) was an Italian classical era composer and cellist whose music is known for a courtly and galante style. Boccherini is most widely known for one particular minuet from his String Quintet in E, Op. 11, No. 5 (G 275).
Pavel Steidl interprets Luigi Legnani - Caprice no. 36 - Virtuoso "
Pavel Steidl interprets Luigi Legnani's Caprice 36 (Moderato), Op. 20 Played on a copy of a "19th century guitar by Georg Staufer". Recorded May 1997. This video was uploaded to show that there are guitarists who are just as relaxed and expressive when playing fast, as when playing a slower work. Also: speed alone - is never Steidl's focus. Steidl always shapes the music to a charming effect. He's one of the few players who give 19th century guitar music the charm and friendly playfulness, which so many other guitarists either do not understand (nothing wrong with that: there are so many different musical styles), or do not have as their focus (their perverted focus usually being only speed). Bravo Mr. Steidl ! www.naxos.com
Pavel Steidl interprets Luigi Legnani's Caprice 36 (Moderato), Op. 20 Played on a copy of a "19th century guitar by Georg Staufer". Recorded May 1997. This video was uploaded to show that there are guitarists who are just as relaxed and expressive when playing fast, as when playing a slower work. Also: speed alone - is never Steidl's focus. Steidl always shapes the music to a charming effect. He's one of the few players who give 19th century guitar music the charm and friendly playfulness, which so many other guitarists either do not understand (nothing wrong with that: there are so many different musical styles), or do not have as their focus (their perverted focus usually being only speed). Bravo Mr. Steidl ! www.naxos.com
2) Ray Reussner: Guitar / Tandy Reussner: Organ / Boccherini Concert
Ray Reussner, classical guitarist, and Tandy C. Reussner: 1996 Wolff 3-65 organ perform the second movement "Andante cantabile" from Luigi Boccherini's Concerto in E major in the grand acoustics of Bales Organ Recital Hall, University of Kansas, Lawrence. The piece was originally written as Boccherini's Concerto for Cello & Orchestra No.6 in D, G479 - It was arranged as Concerto in E for Guitar and Orchestra by Gaspar Cassado (1896/1966) - It was recorded as such by Andrés Segovia. Ray studied with Segovia, off and on, for 20 years, as well as with John Williams at the Royal Conservatory. He is considered to be one of the very few "true" remaining links to Maestro Andres Segovia. "The dedication to his profession, his talent and his willingness to work have made him into one of the most distinguished young guitarists of today, deserving of the success that awaits him and that I predict for him ... He shows a refined sensitivity and gift for interpretation, a perfect knowledge of the guitar technique." Andres Segovia From an upcoming DVD release on Heartside Music. See heartsidemusic.com or visit Ray at http Guitar constructed by Ray Reussner. Tandy C. Reussner holds degrees in Organ Performance from the University of Kansas and the Eastman School of Music. A Fulbright Scholar to Freiburg, Germany and winner of two national organ competitions, Reussner has studied with James Higdon, Zsigmond Szathmary, John Ditto, David Craighead, and David Higgs.
Ray Reussner, classical guitarist, and Tandy C. Reussner: 1996 Wolff 3-65 organ perform the second movement "Andante cantabile" from Luigi Boccherini's Concerto in E major in the grand acoustics of Bales Organ Recital Hall, University of Kansas, Lawrence. The piece was originally written as Boccherini's Concerto for Cello & Orchestra No.6 in D, G479 - It was arranged as Concerto in E for Guitar and Orchestra by Gaspar Cassado (1896/1966) - It was recorded as such by Andrés Segovia. Ray studied with Segovia, off and on, for 20 years, as well as with John Williams at the Royal Conservatory. He is considered to be one of the very few "true" remaining links to Maestro Andres Segovia. "The dedication to his profession, his talent and his willingness to work have made him into one of the most distinguished young guitarists of today, deserving of the success that awaits him and that I predict for him ... He shows a refined sensitivity and gift for interpretation, a perfect knowledge of the guitar technique." Andres Segovia From an upcoming DVD release on Heartside Music. See heartsidemusic.com or visit Ray at http Guitar constructed by Ray Reussner. Tandy C. Reussner holds degrees in Organ Performance from the University of Kansas and the Eastman School of Music. A Fulbright Scholar to Freiburg, Germany and winner of two national organ competitions, Reussner has studied with James Higdon, Zsigmond Szathmary, John Ditto, David Craighead, and David Higgs.
Adagio for Strings, Op. 11 - Samuel Barber
Leonard Slatkin conducts the BBC Orchestra in Adagio for Strings on September 15, 2001, in honor of those who lost their lives in the terror attack on September 11.
Leonard Slatkin conducts the BBC Orchestra in Adagio for Strings on September 15, 2001, in honor of those who lost their lives in the terror attack on September 11.
Bach's Air on the G String - Visual Score
J.S. Bach's Air on the G String, from his 3rd Orchestral Suite in D major.
J.S. Bach's Air on the G String, from his 3rd Orchestral Suite in D major.
Air on the G String - J.S. Bach
Per-Olov Kindgren playing the famous "Air on a G-string" from Bach's Suite for Orchestra No. 3.
Per-Olov Kindgren playing the famous "Air on a G-string" from Bach's Suite for Orchestra No. 3.
Adagio for Strings - Samuel Barber
Audio only - Adagio for Strings by Samuel Barber, performed by the New Zealand Symphony Orchestra.
Audio only - Adagio for Strings by Samuel Barber, performed by the New Zealand Symphony Orchestra.
Berlin Philharmonic Wind Quintet
Berlin Philharmonic Wind Quintet in rehearsal for a performance at Duke University in Durham North Carolina September 29th, 2007. This video shows them rehearsing bits of several pieces they would play that night. Walter Seyfarth, clarinet Michael Hasel, flute Andreas Wittmann, oboe Fergus McWilliam, horn Henning Trog, bassoon The Berlin Philharmonic Wind Quintet (Philharmonisches Bläserquintett Berlin) was founded in 1988, during the era of Herbert von Karajan, the first permanently established wind quintet in the famous orchestra's rich tradition of chamber music. Having maintained their original membership right from inception, they are living musical witnesses to the hugely productive and influential musical partnerships of the Berlin Philharmonic not only with Karajan, but also with its two most recent Musical Directors: Claudio Abbado and Sir Simon Rattle. Naturally, as members of the Berlin Philharmonic, they have also enjoyed important collaborations with every other major conductor of their times, whether Leonard Bernstein, Carlos Kleiber, Sir John Barbirolli, Günter Wand, Carlo Maria Giulini, Bernard Haitink, Riccardo Muti, James Levine or Daniel Barenboim, to name only a few. The Berlin Philharmonic Wind Quintet continues to astonish audiences worldwide with their range of expression, their tonal spectrum and their conceptual unity. Indeed many listeners and critics agree that the ensemble has succeeded in virtually redefining the sound of the classic wind <b>...</b>
Berlin Philharmonic Wind Quintet in rehearsal for a performance at Duke University in Durham North Carolina September 29th, 2007. This video shows them rehearsing bits of several pieces they would play that night. Walter Seyfarth, clarinet Michael Hasel, flute Andreas Wittmann, oboe Fergus McWilliam, horn Henning Trog, bassoon The Berlin Philharmonic Wind Quintet (Philharmonisches Bläserquintett Berlin) was founded in 1988, during the era of Herbert von Karajan, the first permanently established wind quintet in the famous orchestra's rich tradition of chamber music. Having maintained their original membership right from inception, they are living musical witnesses to the hugely productive and influential musical partnerships of the Berlin Philharmonic not only with Karajan, but also with its two most recent Musical Directors: Claudio Abbado and Sir Simon Rattle. Naturally, as members of the Berlin Philharmonic, they have also enjoyed important collaborations with every other major conductor of their times, whether Leonard Bernstein, Carlos Kleiber, Sir John Barbirolli, Günter Wand, Carlo Maria Giulini, Bernard Haitink, Riccardo Muti, James Levine or Daniel Barenboim, to name only a few. The Berlin Philharmonic Wind Quintet continues to astonish audiences worldwide with their range of expression, their tonal spectrum and their conceptual unity. Indeed many listeners and critics agree that the ensemble has succeeded in virtually redefining the sound of the classic wind <b>...</b>
Cesar Franck Piano Quintet in F minor, mvt. 1 (1of2) HD!
Live performance of an ultra Romantic work by pianist Eduard Zilberkant and the Kairos String Quartet on May 14th, 2009, at Central Washington University, Ellensburg,WA. Kairos: Carrie Rehkopf & Heather Netz, violin; Tim Betts, viola & John Michel, cello
Live performance of an ultra Romantic work by pianist Eduard Zilberkant and the Kairos String Quartet on May 14th, 2009, at Central Washington University, Ellensburg,WA. Kairos: Carrie Rehkopf & Heather Netz, violin; Tim Betts, viola & John Michel, cello
Cesar Franck Piano Quintet in F minor, mvt. 3 HD
Live performance of an ultra Romantic work by pianist Eduard Zilberkant and the Kairos String Quartet on May 14th, 2009, at Central Washington University, Ellensburg,WA. Kairos: Carrie Rehkopf & Heather Netz, violin; Tim Betts, viola & John Michel, cello
Live performance of an ultra Romantic work by pianist Eduard Zilberkant and the Kairos String Quartet on May 14th, 2009, at Central Washington University, Ellensburg,WA. Kairos: Carrie Rehkopf & Heather Netz, violin; Tim Betts, viola & John Michel, cello
Arnold Schoenberg, Quintett Op. 26 i. Schwungvoll Part 1, Basel Ense
Heinz Holliger, oboe Klaus Tunemann, Fagott Aurèle Nicolet, Flöte Eduard Brunner, Klarinette Radovan Vlatković, Horn. At the beginning of the 1920s Arnold Schönberg revolutionized the existing rules of Western music with his Methode der Komposition mit zwölf nur aufeinander bezogenen Tönen. With the twelve-tone method, a visionary plan for a future musical order, he laid the twentieth century's decisive foundation for the emancipation of traditional hierarchical principles of organization. The Wind Quintet, Op. 26, was begun in one of the composer's most difficult years and completed in one of his happiest. On 14th April 1923, when Schönberg committed the first ideas for the work to paper, he had already made plans for a summer holiday with his family in Traunkirchen, Upper Austria, a spa that had been a favourite of his since 1907. When he arrived there on 1 st June 1923, he had the first movement with him, having completed it the previous evening. On the manuscript he had written: 'I think Goethe would have been quite happy with me.' That summer in Traunkirchen not only saw an intense period of work on the Wind Quintet and a large number of theoretical and historical writings but was also marked by the serious illness of his wife Mathilde. In September she had to return to Vienna where she was admitted to a sanatorium; Schönberg's work on his Wind Quintet was interrupted. Mathilde Schönberg passed away on 18th October 1923 in the presence of her husband. After the first <b>...</b>
Heinz Holliger, oboe Klaus Tunemann, Fagott Aurèle Nicolet, Flöte Eduard Brunner, Klarinette Radovan Vlatković, Horn. At the beginning of the 1920s Arnold Schönberg revolutionized the existing rules of Western music with his Methode der Komposition mit zwölf nur aufeinander bezogenen Tönen. With the twelve-tone method, a visionary plan for a future musical order, he laid the twentieth century's decisive foundation for the emancipation of traditional hierarchical principles of organization. The Wind Quintet, Op. 26, was begun in one of the composer's most difficult years and completed in one of his happiest. On 14th April 1923, when Schönberg committed the first ideas for the work to paper, he had already made plans for a summer holiday with his family in Traunkirchen, Upper Austria, a spa that had been a favourite of his since 1907. When he arrived there on 1 st June 1923, he had the first movement with him, having completed it the previous evening. On the manuscript he had written: 'I think Goethe would have been quite happy with me.' That summer in Traunkirchen not only saw an intense period of work on the Wind Quintet and a large number of theoretical and historical writings but was also marked by the serious illness of his wife Mathilde. In September she had to return to Vienna where she was admitted to a sanatorium; Schönberg's work on his Wind Quintet was interrupted. Mathilde Schönberg passed away on 18th October 1923 in the presence of her husband. After the first <b>...</b>
Jascha Heifetz plays Tchaikovsky Violin Concerto 1st mov
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Rachmaninoff - Vocalise For Violin
Title : Sergei Rachmaninov, Vocalise (Songs (14), Op. 34: no 14)
From Wikipedia,Vocalise, Op. 34 No. 14 is a song by Sergei Rachmaninoff, published in 1912 as the last of his Fourteen Songs, Opus 34. Written for voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using any one vowel (of the singer's choosing). It was dedicated to soprano Antonina Nezhdanova.
Although the original publication stipulates that the song may be sung by either soprano or tenor voice, it is usually chosen to be performed by a soprano. As with many classical vocal pieces, it is transcribed in a variety of keys, allowing the performer to choose a vocal range more suitable to their natural voice, so that artists who may not have the higher range of a soprano can nevertheless perform the song. When sung by a tenor, it is sung an octave lower than the same key when sung by a soprano.
Title : Sergei Rachmaninov, Vocalise (Songs (14), Op. 34: no 14)From Wikipedia,Vocalise, Op. 34 No. 14 is a song by Sergei Rachmaninoff, published in 1912 as the last of his Fourteen Songs, Opus 34. Written for voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using any one vowel (of the singer's choosing). It was dedicated to soprano Antonina Nezhdanova.
Although the original publication stipulates that the song may be sung by either soprano or tenor voice, it is usually chosen to be performed by a soprano. As with many classical vocal pieces, it is transcribed in a variety of keys, allowing the performer to choose a vocal range more suitable to their natural voice, so that artists who may not have the higher range of a soprano can nevertheless perform the song. When sung by a tenor, it is sung an octave lower than the same key when sung by a soprano.
Americas Got Talent - Jackie Evancho 10 Opera Singer
The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show.
Bio
Jackie Evancho - 10yrs old - Singer
Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy!
By Jerry Shriver, USA TODAY
When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real?
The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio.
Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff.
LIFELINE LIVE:More on Jackie, plus see video
During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings."
The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals.
Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS.
"She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall.
A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring."
Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room."
The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide.
Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it."
He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty.
"Whatever she picks, she will do well."
http://www.JackieEvancho.co
http://www.JacquelineEvancho.co
http://www.JacquelineMarieEvancho.com
The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show.Bio
Jackie Evancho - 10yrs old - Singer
Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy!
By Jerry Shriver, USA TODAY
When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real?
The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio.
Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff.
LIFELINE LIVE:More on Jackie, plus see video
During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings."
The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals.
Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS.
"She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall.
A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring."
Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room."
The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide.
Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it."
He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty.
"Whatever she picks, she will do well."
http://www.JackieEvancho.co
http://www.JacquelineEvancho.co
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Jung Lin Performing Liszts Hungarian Rhapsody no 2
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_Civilization
Concert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." This excerpt is taken from a program entitled "The Piano in World Civilization," featuring commentary by piano expert David Dubal.
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"The Piano in World Civilization" with David Dubal and Jung Lin in discussion and performance at the 2007 Aspen Ideas Festival.
In this, its third year, Aspen Ideas Festival once again gathers scientists, artists, politicians, historians, educators, activists, and other great thinkers around some of the most important and fascinating ideas of our time. As these thinkers present their provocative ideas, they engage a sophisticated and highly motivated audience.
Jung Lin is a classical pianist who has been acclaimed for her poetic and virtuosic performances. A native of Taiwan, she conducted her own orchestral works at age 12 and has won numerous competitions. At 16, her symphonic poem, The Black Wedding, was given its premiere by the Juilliard Symphony under Miguel Harth-Bedoya. Lin graduated with honors from the Juilliard School, and she has performed at such prestigious venues as the International Keyboard Institute and Festival, the Summit Festival in China, and at Alice Tully Hall at the Lincoln Center for Performing Arts. Late this year, Naxos will release Jung Lin's two all-Medtner CDs, including the first complete recording of the Russian composer's 38 Fairy Tales.
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_CivilizationConcert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." This excerpt is taken from a program entitled "The Piano in World Civilization," featuring commentary by piano expert David Dubal.
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"The Piano in World Civilization" with David Dubal and Jung Lin in discussion and performance at the 2007 Aspen Ideas Festival.
In this, its third year, Aspen Ideas Festival once again gathers scientists, artists, politicians, historians, educators, activists, and other great thinkers around some of the most important and fascinating ideas of our time. As these thinkers present their provocative ideas, they engage a sophisticated and highly motivated audience.
Jung Lin is a classical pianist who has been acclaimed for her poetic and virtuosic performances. A native of Taiwan, she conducted her own orchestral works at age 12 and has won numerous competitions. At 16, her symphonic poem, The Black Wedding, was given its premiere by the Juilliard Symphony under Miguel Harth-Bedoya. Lin graduated with honors from the Juilliard School, and she has performed at such prestigious venues as the International Keyboard Institute and Festival, the Summit Festival in China, and at Alice Tully Hall at the Lincoln Center for Performing Arts. Late this year, Naxos will release Jung Lin's two all-Medtner CDs, including the first complete recording of the Russian composer's 38 Fairy Tales.
Beethoven Symphony No. 3 in E-flat Major, Op. 55 - 1st Movement
Leonard Bernstein and the New York Philharmonic perform Allegro con brio from Beethoven's 3rd Symphony.
Leonard Bernstein and the New York Philharmonic perform Allegro con brio from Beethoven's 3rd Symphony.
Beethoven Symphony No. 4 in B-flat Major, Op. 60 - 4th Movement
Audio only - Allegro ma non troppo from Beethoven's 4th Symphony.
Audio only - Allegro ma non troppo from Beethoven's 4th Symphony.
Beethoven's Sonata No. 12 in A-flat Major, Op.26 - 3rd Movement
"Maestoso Andante, marcia funebre sulla morte d'un eroe" from Ludwig van Beethoven's Piano Sonata No. 12, performed by Michelangeli.
"Maestoso Andante, marcia funebre sulla morte d'un eroe" from Ludwig van Beethoven's Piano Sonata No. 12, performed by Michelangeli.
Chopin Nocturne in E flat major, Opus 9 No. 2 by Tzvi Erez, HQ
iTunes link itunes.apple.com Tzvi Erez plays Chopin's Nocturne Opus 9 No. 2 in E flat major on a 1912 Bosendorfer. Better Video Quality. No Commentary. Recorded 2003. P & C Niv Classical Records. www.nivmusic.com
iTunes link itunes.apple.com Tzvi Erez plays Chopin's Nocturne Opus 9 No. 2 in E flat major on a 1912 Bosendorfer. Better Video Quality. No Commentary. Recorded 2003. P & C Niv Classical Records. www.nivmusic.com
Brahms: Clarinet Trio Op.114, mvt 1
Oscine Trio is an international ensemble of three young and talented artists recognized for their invigorating and energetic performances that have taken the classical music world by storm. Japanese clarinetist Maiko Sasaki, Israeli-American cellist Reenat Pinchas, & South African pianist Eugene Joubert, are dedicated to creating exciting and innovative ways to communicate musically with audiences around the world. Their diverse international backgrounds translate to their musical style providing a fusion of Asian, Middle Eastern, and South African influences. more on a website www.oscinetrio.com
Oscine Trio is an international ensemble of three young and talented artists recognized for their invigorating and energetic performances that have taken the classical music world by storm. Japanese clarinetist Maiko Sasaki, Israeli-American cellist Reenat Pinchas, & South African pianist Eugene Joubert, are dedicated to creating exciting and innovative ways to communicate musically with audiences around the world. Their diverse international backgrounds translate to their musical style providing a fusion of Asian, Middle Eastern, and South African influences. more on a website www.oscinetrio.com
Brahms: Clarinet Trio Op.114, mvt 4
Oscine Trio is an international ensemble of three young and talented artists recognized for their invigorating and energetic performances that have taken the classical music world by storm. Japanese clarinetist Maiko Sasaki, Israeli-American cellist Reenat Pinchas, & South African pianist Eugene Joubert, are dedicated to creating exciting and innovative ways to communicate musically with audiences around the world. Their diverse international backgrounds translate to their musical style providing a fusion of Asian, Middle Eastern, and South African influences. more on a website www.oscinetrio.com
Oscine Trio is an international ensemble of three young and talented artists recognized for their invigorating and energetic performances that have taken the classical music world by storm. Japanese clarinetist Maiko Sasaki, Israeli-American cellist Reenat Pinchas, & South African pianist Eugene Joubert, are dedicated to creating exciting and innovative ways to communicate musically with audiences around the world. Their diverse international backgrounds translate to their musical style providing a fusion of Asian, Middle Eastern, and South African influences. more on a website www.oscinetrio.com
Andor Földes plays Brahms Intermezzo op.117 no.1
Intermezzo no.1 in E-flat major is among "Three Intermezzi, op.117" composed in 1892. Recorded in 1950. ~ Biography / Obituary from NY Times on February 19, 1992: Andor Foldes, a Hungarian-born American pianist who was closely associated with the music of Bela Bartok and who was also a respected interpreter of the Viennese Classical composers, died at his home in Herrliberg, Switzerland, on Feb. 9. He was 78 years old. He died after falling down a flight of stairs, said his wife, Lili Rendy Foldes. Mrs. Foldes said her husband had been preparing for a performance and an eight-day master class at the Beethoven house in Bonn. Mr. Foldes was born in Budapest on Dec. 21, 1913, and began his studies privately with his mother, Valerie Ipolye, and with Tibor Szatmari. He made his public debut performing a Mozart concerto with the Budapest Philharmonic when he was 8 years old. The next year he entered the Budapest Academy of Music to study the piano, composition and conducting, but he continued to perform publicly. During his student years, Mr. Foldes worked with several important Hungarian composers, among them Ernst von Dohnanyi, with whom he studied until 1932, and Bartok, whom he met in 1929. Bartok's music became a central part of his repertory. He gave the New York premiere of Bartok's Second Piano Concerto at Carnegie Hall in 1947. His 1948 recording of the work, prized by collectors, was recently reissued on compact disk, as was a set of Bartok works he recorded for <b>...</b>
Intermezzo no.1 in E-flat major is among "Three Intermezzi, op.117" composed in 1892. Recorded in 1950. ~ Biography / Obituary from NY Times on February 19, 1992: Andor Foldes, a Hungarian-born American pianist who was closely associated with the music of Bela Bartok and who was also a respected interpreter of the Viennese Classical composers, died at his home in Herrliberg, Switzerland, on Feb. 9. He was 78 years old. He died after falling down a flight of stairs, said his wife, Lili Rendy Foldes. Mrs. Foldes said her husband had been preparing for a performance and an eight-day master class at the Beethoven house in Bonn. Mr. Foldes was born in Budapest on Dec. 21, 1913, and began his studies privately with his mother, Valerie Ipolye, and with Tibor Szatmari. He made his public debut performing a Mozart concerto with the Budapest Philharmonic when he was 8 years old. The next year he entered the Budapest Academy of Music to study the piano, composition and conducting, but he continued to perform publicly. During his student years, Mr. Foldes worked with several important Hungarian composers, among them Ernst von Dohnanyi, with whom he studied until 1932, and Bartok, whom he met in 1929. Bartok's music became a central part of his repertory. He gave the New York premiere of Bartok's Second Piano Concerto at Carnegie Hall in 1947. His 1948 recording of the work, prized by collectors, was recently reissued on compact disk, as was a set of Bartok works he recorded for <b>...</b>
G. Ligeti - Etude No.5 “Arc en ciel” (Jamina Gerl)
Jamina Gerl plays G. Ligeti - Etude No.5 “Arc en ciel”
Jamina Gerl plays G. Ligeti - Etude No.5 “Arc en ciel”
Rachmaninoff: Prelude Op.23 No.5
The prelude that introduced me to classical music. Played by one of my favourite pianists, Sviatoslav Richter. I find that this is the best version, even though I think that Emil Gilels' version is good aswell. Enjoy :) The Prelude in G minor, Op. 23 No. 5 is a composition by Sergei Rachmaninoff completed 1901. It was included in his Opus 23 set of ten preludes despite having been written two years earlier than the other nine. It is an epitome of Rachmaninoff's Russian nationalism, rife with full chords and evocative melodies. The prelude's form is similar to that of a traditional three-part rondo, consisting of an opening "A" section with punctuated sixteenth-note chords (marked Alla marcia), a more lyrical and melancholy "B" section with arpeggiated triplets in the left hand (marked Poco meno mosso), a transition into the original tempo, and a recapitulation of the initial march. Despite the bombast of the main march theme, the piece ends with a short arpeggiated run to a high G, marked pianissimo. Although the g minor prelude is not considered one of the most technically challenging preludes, the speed of the march section and its thick repeated chords require both strong wrists and dynamic control, while the middle section requires a controlled legato in both hands to ensure that the melody is properly projected. -Wikipedia
The prelude that introduced me to classical music. Played by one of my favourite pianists, Sviatoslav Richter. I find that this is the best version, even though I think that Emil Gilels' version is good aswell. Enjoy :) The Prelude in G minor, Op. 23 No. 5 is a composition by Sergei Rachmaninoff completed 1901. It was included in his Opus 23 set of ten preludes despite having been written two years earlier than the other nine. It is an epitome of Rachmaninoff's Russian nationalism, rife with full chords and evocative melodies. The prelude's form is similar to that of a traditional three-part rondo, consisting of an opening "A" section with punctuated sixteenth-note chords (marked Alla marcia), a more lyrical and melancholy "B" section with arpeggiated triplets in the left hand (marked Poco meno mosso), a transition into the original tempo, and a recapitulation of the initial march. Despite the bombast of the main march theme, the piece ends with a short arpeggiated run to a high G, marked pianissimo. Although the g minor prelude is not considered one of the most technically challenging preludes, the speed of the march section and its thick repeated chords require both strong wrists and dynamic control, while the middle section requires a controlled legato in both hands to ensure that the melody is properly projected. -Wikipedia
![Hungarian Dance No.5 - [Johannes Brahms]](http://img.classicalclips.com/Z7lrsSm0TlBdBBqf.jpg "Hungarian Dance No.5 - [Johannes Brahms]")
