L'elisir d'amore - Atto 1 - Esulti pur la barbara
- Classical music composed by Gaetano Donizetti Gaetano Donizetti L'elisir d'amore Comic opera in two acts after the comedy Le Philtre by Eugene Scribe Orchestre et Choeur de l'opera de Lyon Conducted by Evelino Pido Nemorino - Roberto Alagna Adina - Angela Gheorghiu Belcore - Roberto Scaltriti Dulcamara - Somine Alaimo Madame Dulcamara - Luce Bekistan Giannetta - Elena Dan
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Gaetano Donizetti - L'elisir d'amore - "Tra-la-la-la" (Peter Dvo
In Italian opera the Act One Finale seems to be the most important part of the whole evening: something very important is bound to happen just before or during the finale, so the whole finale is usually either devoted to something crucial happening between the main characters, to characters reacting to the event or, in some cases, to both things at the same time. Moreover, the emotions usual run very high with lower voices snarling effectively, sopranos and tenors brandishing high Cs and coloratura roulandes, the chorus and comprimarios confused, at best. The First Act Finale to "L'elisir d'amore" really isn't s break of traditon but it can claim fully its' originality of form and of music :)! Despite concert and recording practices, the present finale is actually formed out of three almost independent numbers (but they are connected into a cohesive whole): Adina's and Nemorino's second duet; the subsequent terzettino with Belcore and the finale proper (complete with the traditional "scene - andante - allegro" structure). The duettino starts after a short scene as Nemorino tries to make Adina believe that he is uninterested with her, while the latter is a bit shocked to see her faithful follower turn away from her. A classical contrasting succession of "andante - allegro" is made interesting by the fact that both movements use the same words to show the changing emotions of the characters: Adina is at first unable to understand the sudden change in Nemorino's behavior but <b>...</b>
In Italian opera the Act One Finale seems to be the most important part of the whole evening: something very important is bound to happen just before or during the finale, so the whole finale is usually either devoted to something crucial happening between the main characters, to characters reacting to the event or, in some cases, to both things at the same time. Moreover, the emotions usual run very high with lower voices snarling effectively, sopranos and tenors brandishing high Cs and coloratura roulandes, the chorus and comprimarios confused, at best. The First Act Finale to "L'elisir d'amore" really isn't s break of traditon but it can claim fully its' originality of form and of music :)! Despite concert and recording practices, the present finale is actually formed out of three almost independent numbers (but they are connected into a cohesive whole): Adina's and Nemorino's second duet; the subsequent terzettino with Belcore and the finale proper (complete with the traditional "scene - andante - allegro" structure). The duettino starts after a short scene as Nemorino tries to make Adina believe that he is uninterested with her, while the latter is a bit shocked to see her faithful follower turn away from her. A classical contrasting succession of "andante - allegro" is made interesting by the fact that both movements use the same words to show the changing emotions of the characters: Adina is at first unable to understand the sudden change in Nemorino's behavior but <b>...</b>
Gaetano Donizetti - L'elisir d'amore - Chiedi all'aura lusinghier
The mini-series of uploads from Wallberg's recordings of Donizetti's two great buffo operas continues :)! Adina and Nemorino surprisingly don't actually have a real "suspended-over-time" love duet (similar to, for example, "Tornami a dir"): their first number together narratively follows Adina as she gently pokes fun of Nemorino's sentimental outpourings; while their second duet, a part of the first Finale, finds both characters a bit angry and confused, so no love duettino there. Only in Adina's aria or, to be more precise, its' cabaletta do we get close to the traditional love scene. But the whole thing works without any obligatory nocturnal duettino. The first duet is quite unconventional, mainly due to the fact that it skips the central andante and, after the characters' statements, plunges straight into an impassioned but slowly moving stretta. The music is touching throughout: especially charming are the final two sections ("si, si, si/no, no, no" and the succeeding section) leading up to the climatic Cs from both characters. Lucia Popp and Peter Dvorsky seems to me almost perfect as, respectively, Adina and Nemorino :). Enjoy :)! Your comments will be appreciated.
The mini-series of uploads from Wallberg's recordings of Donizetti's two great buffo operas continues :)! Adina and Nemorino surprisingly don't actually have a real "suspended-over-time" love duet (similar to, for example, "Tornami a dir"): their first number together narratively follows Adina as she gently pokes fun of Nemorino's sentimental outpourings; while their second duet, a part of the first Finale, finds both characters a bit angry and confused, so no love duettino there. Only in Adina's aria or, to be more precise, its' cabaletta do we get close to the traditional love scene. But the whole thing works without any obligatory nocturnal duettino. The first duet is quite unconventional, mainly due to the fact that it skips the central andante and, after the characters' statements, plunges straight into an impassioned but slowly moving stretta. The music is touching throughout: especially charming are the final two sections ("si, si, si/no, no, no" and the succeeding section) leading up to the climatic Cs from both characters. Lucia Popp and Peter Dvorsky seems to me almost perfect as, respectively, Adina and Nemorino :). Enjoy :)! Your comments will be appreciated.
Gaetano Donizetti - L'elisir d'amore - "Signor sergente" (Peter
The finale proper begins with Gianetta's entrance with a letter from Belcore's commander (talk about dramatical messenger; plus, the music is brilliantly "runny" in the strings). Belcore and his men are to leave the very next morning. But that doesn't really stop Adina who (and that's the second part of the all-important-event) announces that she will marry Belcore immediately which causes Nemorino great distress (plus, the wine has gotten out of his system a bit). The next section is the iconic "suspension-over-time": Nemorino's gentle, sighing, elegant line is contrasted with Belcore's and Adina's laughing, mocking short phrases (the soprano only joins the tenor's line for her two last couplets as she laments the loss of all possible hope of marrying Nemorino). Finally, time returns as all except Nemorino (and, secretly, Adina) rejoice at the news of the upcoming news; Nemorino is pushed aside with only his cries of "doctor! doctor!" audible. And that's the Act One Finale :)! Peter Dvorsky, Lucia Popp, Bernd Weikl are joined by the Gianetta of Judith Hobarth. Hope you enjoyed it :)! The next piece, Adina's big aria is coming soon.
The finale proper begins with Gianetta's entrance with a letter from Belcore's commander (talk about dramatical messenger; plus, the music is brilliantly "runny" in the strings). Belcore and his men are to leave the very next morning. But that doesn't really stop Adina who (and that's the second part of the all-important-event) announces that she will marry Belcore immediately which causes Nemorino great distress (plus, the wine has gotten out of his system a bit). The next section is the iconic "suspension-over-time": Nemorino's gentle, sighing, elegant line is contrasted with Belcore's and Adina's laughing, mocking short phrases (the soprano only joins the tenor's line for her two last couplets as she laments the loss of all possible hope of marrying Nemorino). Finally, time returns as all except Nemorino (and, secretly, Adina) rejoice at the news of the upcoming news; Nemorino is pushed aside with only his cries of "doctor! doctor!" audible. And that's the Act One Finale :)! Peter Dvorsky, Lucia Popp, Bernd Weikl are joined by the Gianetta of Judith Hobarth. Hope you enjoyed it :)! The next piece, Adina's big aria is coming soon.
Gaetano Donizetti - L'elisir d'amore - "Della crudele Isolde" (L
Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>
Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>
d'Amore Ensembles: Hornpipe from Handel's Watermusic
d'Amore Ensembles provide live classical music for Weddings, Corporate and other Functions
d'Amore Ensembles provide live classical music for Weddings, Corporate and other Functions
Viola D'amore
Video clip of Thomas Georgi from Tafelmusik Ensamble playing Classical music on Viola D'amore
Video clip of Thomas Georgi from Tafelmusik Ensamble playing Classical music on Viola D'amore
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"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
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
La Cenerentola - G Rossini - Questo è un nodo avvilupatto
Gioachino Rossini - " La Cenerentola" Acto 2 - Scene 2 21-Questo è un nodo avvilupatto Magnifico ( Enzo Dara ), Tisbe (Jill Grove), Clorinda ( Laura Knoop ) , Cenerenterola ( Cecilia Bartoli ), Ramiro ( Raúl Giménez ), Dandini ( Alessandro Corbelli ) Houston Grand Opera - Directed for video by Brian Large Music DirectorChristoph Eschenbach Houston Grand Opera Corus Bruno Campanella
Gioachino Rossini - " La Cenerentola" Acto 2 - Scene 2 21-Questo è un nodo avvilupatto Magnifico ( Enzo Dara ), Tisbe (Jill Grove), Clorinda ( Laura Knoop ) , Cenerenterola ( Cecilia Bartoli ), Ramiro ( Raúl Giménez ), Dandini ( Alessandro Corbelli ) Houston Grand Opera - Directed for video by Brian Large Music DirectorChristoph Eschenbach Houston Grand Opera Corus Bruno Campanella
Vincenzo MALTEMPO - Liszt: (Estratto- DEMO) Polacca n.1 C minor
CD GRAMOLA 98861 Franz Liszt Klavierwerke Vincenzo MALTEMPO www.gramola.at www.vincenzomaltempo.com www.boesendorfer.com Vincenzo Maltempo è nato nel 1985; dopo aver conseguito la maturità classica si è diplomato nel Luglio 2005 - da privatista - con il massimo dei voti e la lode al Conservatorio "S. Cecilia" di Roma, sotto la guida di Salvatore Orlando. In seguito si è perfezionato con il Maestro Riccardo Risaliti presso l'Accademia Pianistica "Incontri col maestro" di Imola. I suoi interessi musicali spaziano dal Barocco al Moderno, con una particolare attenzione alla produzione di compositori meno conosciuti. Parte consistente del suo repertorio è dedicata inoltre alla trascrizione d'autore, che permette di confrontarsi con nuovi e stimolanti problemi pianistici e musicali; egli stesso ha composto alcune trascrizioni di importanti lavori orchestrali. Nel Novembre 2006 è risultato il vincitore del prestigioso concorso pianistico "Premio Venezia", che lo ha portato ad esibirsi in importanti società di concerti italiane ed estere; ha suonato, tra gli altri, per il "Miami Piano Festival in Lecce" (nelle Edizioni 2005 - 2007 - 2009), per l'Associazione "Opere" al Castello Odescalchi di Bracciano, per gli "Amici della Musica" di Isernia, Barletta, Mestre, Vicenza, Arezzo, Belluno, Asolo, Taranto, Padova, nell'ambito del "Bologna Festival" e per gli "Amici del Teatro Massimo" di Palermo, per associazioni musicali in Inghilterra e Spagna; il 2 Giugno 2007 ha tenuto inoltre un <b>...</b>
CD GRAMOLA 98861 Franz Liszt Klavierwerke Vincenzo MALTEMPO www.gramola.at www.vincenzomaltempo.com www.boesendorfer.com Vincenzo Maltempo è nato nel 1985; dopo aver conseguito la maturità classica si è diplomato nel Luglio 2005 - da privatista - con il massimo dei voti e la lode al Conservatorio "S. Cecilia" di Roma, sotto la guida di Salvatore Orlando. In seguito si è perfezionato con il Maestro Riccardo Risaliti presso l'Accademia Pianistica "Incontri col maestro" di Imola. I suoi interessi musicali spaziano dal Barocco al Moderno, con una particolare attenzione alla produzione di compositori meno conosciuti. Parte consistente del suo repertorio è dedicata inoltre alla trascrizione d'autore, che permette di confrontarsi con nuovi e stimolanti problemi pianistici e musicali; egli stesso ha composto alcune trascrizioni di importanti lavori orchestrali. Nel Novembre 2006 è risultato il vincitore del prestigioso concorso pianistico "Premio Venezia", che lo ha portato ad esibirsi in importanti società di concerti italiane ed estere; ha suonato, tra gli altri, per il "Miami Piano Festival in Lecce" (nelle Edizioni 2005 - 2007 - 2009), per l'Associazione "Opere" al Castello Odescalchi di Bracciano, per gli "Amici della Musica" di Isernia, Barletta, Mestre, Vicenza, Arezzo, Belluno, Asolo, Taranto, Padova, nell'ambito del "Bologna Festival" e per gli "Amici del Teatro Massimo" di Palermo, per associazioni musicali in Inghilterra e Spagna; il 2 Giugno 2007 ha tenuto inoltre un <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
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
http://www.JacquelineMarieEvancho.com
Chopin Mazurka op17 No 4 - Michel Mananes Live
Michel Mananes plays one of the most beautiful Chopin Mazurka No 4 op.17 A minor 13 .All this pieces are played in an "Antique Bosendorfer". With recitals for europa and suramerica specially. He won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Chopin Mazurca.classical concert pianist.
http://www.geocities.com/pianistmananes/index.html
Frederic Chopin - March 1, 1810[1] -- October 17, 1849) was a Polish[2][3] composer and virtuoso pianist of the Romantic period. He is widely regarded as the greatest Polish composer, and ranks as one of music's greatest tone poets.[4]
He was born in the village of Żelazowa Wola, in the Duchy of Warsaw, to a Polish mother and French-expatriate father, and in his early life was regarded as a child-prodigy pianist. In November 1830, at the age of 20, Chopin went abroad; following the suppression of the Polish November Uprising of 1830--31, he became one of many expatriates of the Polish "Great Emigration."
In Paris, he made a comfortable living as a composer and piano teacher, while giving few public performances. A Polish patriot,[5][6] in France he used the French versions of his names and eventually, to avoid having to rely on Imperial Russian documents, became a French citizen.[7][8][9] After some ill-fated romantic involvements with Polish women, from 1837 to 1847 he conducted a turbulent relationship with the French writer George Sand (Aurore Dudevant). Always in frail health, in 1849 he died in Paris, at the age of 39, of chronic pulmonary tuberculosis.[10][11]
Chopin's extant compositions were written primarily for the piano as a solo instrument. Though technically demanding, Chopin's style emphasizes nuance and expressive depth rather than virtuosity. Chopin invented musical forms such as the ballade[12] and was responsible for major innovations in forms such as the piano sonata, waltz, nocturne, étude, impromptu and prelude. His works are mainstays of Romanticism in 19th-century classical music.
Chopin composed 58 Mazurkas (there seem to be at least another 2 unfinished sketches) and many of his other works of different genres are either inspired by the Mazurka or have parts of Mazurkas within them. Chopin did, of course, not invent the Mazurka form. However, it was he alone who put the Mazurka on the public stage and refined it into the highest art of music. In his Mazurkas, you get to know the very soul of Poland and Chopin never forgot his home land or the poor farmers singing the Mazurkas during the time of harvest. Chopin started his composing with a Polonaise and ended with a Mazurka, thus closing the circle.
Michel Mananes plays one of the most beautiful Chopin Mazurka No 4 op.17 A minor 13 .All this pieces are played in an "Antique Bosendorfer". With recitals for europa and suramerica specially. He won first prize in several young piano competitions. He is Piano Teacher in Madrid and continue to give concerts.Chopin Mazurca.classical concert pianist.http://www.geocities.com/pianistmananes/index.html
Frederic Chopin - March 1, 1810[1] -- October 17, 1849) was a Polish[2][3] composer and virtuoso pianist of the Romantic period. He is widely regarded as the greatest Polish composer, and ranks as one of music's greatest tone poets.[4]
He was born in the village of Żelazowa Wola, in the Duchy of Warsaw, to a Polish mother and French-expatriate father, and in his early life was regarded as a child-prodigy pianist. In November 1830, at the age of 20, Chopin went abroad; following the suppression of the Polish November Uprising of 1830--31, he became one of many expatriates of the Polish "Great Emigration."
In Paris, he made a comfortable living as a composer and piano teacher, while giving few public performances. A Polish patriot,[5][6] in France he used the French versions of his names and eventually, to avoid having to rely on Imperial Russian documents, became a French citizen.[7][8][9] After some ill-fated romantic involvements with Polish women, from 1837 to 1847 he conducted a turbulent relationship with the French writer George Sand (Aurore Dudevant). Always in frail health, in 1849 he died in Paris, at the age of 39, of chronic pulmonary tuberculosis.[10][11]
Chopin's extant compositions were written primarily for the piano as a solo instrument. Though technically demanding, Chopin's style emphasizes nuance and expressive depth rather than virtuosity. Chopin invented musical forms such as the ballade[12] and was responsible for major innovations in forms such as the piano sonata, waltz, nocturne, étude, impromptu and prelude. His works are mainstays of Romanticism in 19th-century classical music.
Chopin composed 58 Mazurkas (there seem to be at least another 2 unfinished sketches) and many of his other works of different genres are either inspired by the Mazurka or have parts of Mazurkas within them. Chopin did, of course, not invent the Mazurka form. However, it was he alone who put the Mazurka on the public stage and refined it into the highest art of music. In his Mazurkas, you get to know the very soul of Poland and Chopin never forgot his home land or the poor farmers singing the Mazurkas during the time of harvest. Chopin started his composing with a Polonaise and ended with a Mazurka, thus closing the circle.
Argerich plays Tchaikovsky Piano Concerto Part 1
Martha Argerich stunningly plays the Tchaikovsky Concerto in Beppu, Japan, April 22, 2001. Antonio Pappano conducts.
Martha Argerich stunningly plays the Tchaikovsky Concerto in Beppu, Japan, April 22, 2001. Antonio Pappano conducts.
Rondo by Purcell on Classical Guitar
My first video for trying to rid myself of my performance anxiety: 115 takes.
I first heard this piece performed (magnificently) by Torisand. Inspired, I arranged and performed it myself.
My first video for trying to rid myself of my performance anxiety: 115 takes.I first heard this piece performed (magnificently) by Torisand. Inspired, I arranged and performed it myself.
Henry Purcell's Trumpet Voluntary sheet music - Video Score
http://www.virtualsheetmusic.com/video58<br />Virtual Sheet Music presents the famous Henry Purcell's Trumpet Voluntary for piano. Subscribe to our channel to watch weekly Video Scores from our high quality sheet music collection. This Video Score is about piano sheet music and related MP3 files. It gives you the opportunity to play the music directly from your computer screen and to discover our unique repertoire of high quality digital sheet music.
http://www.virtualsheetmusic.com/video58<br />Virtual Sheet Music presents the famous Henry Purcell's Trumpet Voluntary for piano. Subscribe to our channel to watch weekly Video Scores from our high quality sheet music collection. This Video Score is about piano sheet music and related MP3 files. It gives you the opportunity to play the music directly from your computer screen and to discover our unique repertoire of high quality digital sheet music.
Cecilia Bartoli -- "Qui La Voce" from Bellini's I Puritani
If Rossini is a rich pastry, Bellini is a smooth Swiss chocolate. This is slightly edited to highlight Bartoli's exquisitely intimate bel canto. BBC Review: Cecilia Bartoli stands apart from other classical artists with her talent for unearthing and breathing new life into long-forgotten music, rather than re-recording the core repertoire. Bartoli's rich voice, with its pyrotechnical capabilities and dramatic powers, couldn't be better suited to the task.
If Rossini is a rich pastry, Bellini is a smooth Swiss chocolate. This is slightly edited to highlight Bartoli's exquisitely intimate bel canto. BBC Review: Cecilia Bartoli stands apart from other classical artists with her talent for unearthing and breathing new life into long-forgotten music, rather than re-recording the core repertoire. Bartoli's rich voice, with its pyrotechnical capabilities and dramatic powers, couldn't be better suited to the task.
Purcell - March / Music for the Funeral of Queen Mary (Funeral Sente
※ Better than / Please, click here (watch in high quality - 480p) ※ youtube.com Henry Purcell (1659~1695) 《Music for the Funeral of Queen Mary》Z. 860 (Funeral Sentences) - 1. Funeral March - Baroque Brass of London Mark Bennet (Flatt Trumpet) Crispian Steele-Perkins (Slide Trumpet) Michael Laird (Slide Trumpet) Ron Bryans (Sackbut) Robert Howes (Percussion)
※ Better than / Please, click here (watch in high quality - 480p) ※ youtube.com Henry Purcell (1659~1695) 《Music for the Funeral of Queen Mary》Z. 860 (Funeral Sentences) - 1. Funeral March - Baroque Brass of London Mark Bennet (Flatt Trumpet) Crispian Steele-Perkins (Slide Trumpet) Michael Laird (Slide Trumpet) Ron Bryans (Sackbut) Robert Howes (Percussion)
Barbara Hendricks - Ave Maria (Franz Schubert) - Live 2007
Barbara Hendricks (soprano) and Love Derwinger (piano) performing Franz Schubert' Ave Maria in Brussels (Palais des Beaux-Arts) on 16 Nov. 2007
Barbara Hendricks (soprano) and Love Derwinger (piano) performing Franz Schubert' Ave Maria in Brussels (Palais des Beaux-Arts) on 16 Nov. 2007
Barbara Hendricks - Ave Maria (Franz Schubert)
Barbara Hendrricks (soprano) and Roland Pöntinen (piano) during the recording of the Ave Maria (Ellens Gesang III) by Franz Schubert in Stockholm in November 2007.
Barbara Hendrricks (soprano) and Roland Pöntinen (piano) during the recording of the Ave Maria (Ellens Gesang III) by Franz Schubert in Stockholm in November 2007.
