Libiamo Ne' Lieti Calici, Giuseppe Verdi (Lyrics in Italian)
- Classical music composed by Giuseppe Verdi Here you are other clasical video, this time with the great musical's teacher Giuseppe Verdi. The first performance of the opera, on 6 March 1853 in Venice's La Fenice, was an utter failure. The day after, Verdi wrote to his friend Muzio what has now become perhaps his most famous letter: "La Traviata last night a failure. My fault or the singers'? Time will tell." This letter not only implies what Verdi already knew—that the singers, particularly the obese soprano who could never convincingly play a dying consumptive, had failed to "understand his music."[2]. But more importantly, this letter captures Verdi's faith that the public ultimately knows what is and is not good art and will pronounce its judgment in good time. Thank for watch. Rate if you can o leave your comments. (lyrics in Italian)
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'Parce mihi, Domine' by the early 16th-century Spanish composer Cristobal de Morales. Performed by Lumina Vocal Ensemble, director Anna Pope. Recorded by Kenneth Pope in St Aloysius; Church Sevenhill, South Australia, 2009. SIngers: Rachel Sag, Raphaela Mazzone, Sarah Bleby, Saam Thorne, Kate Tretheway, Rosemary Byron-Scott, Anna Pope, Tim Muecke, Bernard Mageean, Clive Conway, Evan Sanders & Kenneth Pope. Images from NASA, Kangaroo Island, Florence and the Sevenhill Church in South Australia. Photos by Eleanor Pope, Claire Booth, Martin McClelland & Michael Denholm. lumina.org.au Text: Parce mihi, Domine, nihil enim sunt dies mei. Quid est homo, quia magnificas eum? Aut quid apponis erga eum cor tuum? Visitas eum diluculo et subito probas illum. Usquequo non parcis mihi, nec dimittis me, ut glutiam salivam meam? Peccavi, quid faciam tibi, o custos hominum? Quare posuisti me contrarium tibi, et factus sum mihimetispsi gravis? Cur non tollis peccatum meum, et quare non aufers iniquitatem meam? Ecce, nunc in pulvere dormiam, et si mane me quaesieris, non subsistam. English translation: Spare me, Lord, for my days are as nothing. What is Man, that you should make so much of us? Or why should you set your heart upon us? You visit us at dawn, and put us to the test at any moment. Will you not spare me and let me be, while I swallow my saliva? If I have sinned, how have I hurt you, O guardian of mankind? Why have you set me up as your target, so that I am now a burden to myself <b>...</b>
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Title : Giuseppe Verdi - Aida - Marcia Trionfale (Triumphal March)
Title : Giuseppe Verdi - Aida - Marcia Trionfale (Triumphal March)
1842 GIUSEPPE VERDI - Nabucco - Va, Pensiero
Nabucco(Nabucodonosor) Va', pensiero, sull'ali dorate. Va', ti posa sui clivi, sui coll, ove olezzano tepide e molli l'aure dolci del suolo natal! Del Giordano le rive saluta, di Sionne le torri atterrate. O mia Patria, sì bella e perduta! O membranza sì cara e fatal! Arpa d'or dei fatidici vati, perché muta dal salice pendi? Le memorie del petto riaccendi, ci favella del tempo che fu! O simile di Solima ai fati, traggi un suono di crudo lamento; o t'ispiri il Signore un concento che ne infonda al patire virtù al patire virtù! *************************** Go, thought, on golden wings Go and rest on rises and hills Where the sweet and soft Air of the native land is to breath! Greet the shores of Jordan River, The destroyed towers of Sion. Oh, my country, beautiful and lost! Oh remembrance, so dear and fated. Golden harp of the prophetic poets Why do you hang, dumb, from the willow? You renew memories in our breasts, Talking about the time that once was. Oh, like Solima to the fates You draw a sound of crude mourning, May the Lord inspire you to a concert That may give virtue to the suffering.
Nabucco(Nabucodonosor) Va', pensiero, sull'ali dorate. Va', ti posa sui clivi, sui coll, ove olezzano tepide e molli l'aure dolci del suolo natal! Del Giordano le rive saluta, di Sionne le torri atterrate. O mia Patria, sì bella e perduta! O membranza sì cara e fatal! Arpa d'or dei fatidici vati, perché muta dal salice pendi? Le memorie del petto riaccendi, ci favella del tempo che fu! O simile di Solima ai fati, traggi un suono di crudo lamento; o t'ispiri il Signore un concento che ne infonda al patire virtù al patire virtù! *************************** Go, thought, on golden wings Go and rest on rises and hills Where the sweet and soft Air of the native land is to breath! Greet the shores of Jordan River, The destroyed towers of Sion. Oh, my country, beautiful and lost! Oh remembrance, so dear and fated. Golden harp of the prophetic poets Why do you hang, dumb, from the willow? You renew memories in our breasts, Talking about the time that once was. Oh, like Solima to the fates You draw a sound of crude mourning, May the Lord inspire you to a concert That may give virtue to the suffering.
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Giuseppe di Stefano (1921-2008) There are few things more pleasurable in the world of classical singing than the sound of the young Giuseppe di Stefano. His early recordings reveal a dulcet timbre- honeyed and bright, but not nasal- that fairly oozes Italianate warmth and charm. Di Stefano's initial attempts in front of the studio microphone date from 1944, two years before his actual stage debut (at Reggio Emilia, as Des Grieux in "Manon"). These took place during his post-military internment in Switzerland, when the tenor recorded operatic arias, as well as songs by Italian composers, for Radio Lausanne (he also made a few recordings for HMV during this time). Apparently, this material remained unreleased until the early 1970's, when EMI finally gave opera aficionados the chance to hear di Stefano's voice at peak freshness. A favorite of mine among the Lausanne recordings is "Si vous l'aviez compris" ("Had you but known"), by Neapolitan composer Luigi Denza, better remembered today for "Funiculì, Funiculà" and "Occhi di fata". The singing? It is nothing short of gorgeous- notable for its tonal purity and an interpretive approach that values simplicity and lack of affectation. It is hard to believe that recordings made less than a decade later would already show a voice starting to harden and coarsen, but at this point the sound is soft and caressing as can be. It has been claimed that di Stefano gave his first performance as Nemorino in a Radio Lausanne broadcast; I <b>...</b>
Giuseppe di Stefano (1921-2008) There are few things more pleasurable in the world of classical singing than the sound of the young Giuseppe di Stefano. His early recordings reveal a dulcet timbre- honeyed and bright, but not nasal- that fairly oozes Italianate warmth and charm. Di Stefano's initial attempts in front of the studio microphone date from 1944, two years before his actual stage debut (at Reggio Emilia, as Des Grieux in "Manon"). These took place during his post-military internment in Switzerland, when the tenor recorded operatic arias, as well as songs by Italian composers, for Radio Lausanne (he also made a few recordings for HMV during this time). Apparently, this material remained unreleased until the early 1970's, when EMI finally gave opera aficionados the chance to hear di Stefano's voice at peak freshness. A favorite of mine among the Lausanne recordings is "Si vous l'aviez compris" ("Had you but known"), by Neapolitan composer Luigi Denza, better remembered today for "Funiculì, Funiculà" and "Occhi di fata". The singing? It is nothing short of gorgeous- notable for its tonal purity and an interpretive approach that values simplicity and lack of affectation. It is hard to believe that recordings made less than a decade later would already show a voice starting to harden and coarsen, but at this point the sound is soft and caressing as can be. It has been claimed that di Stefano gave his first performance as Nemorino in a Radio Lausanne broadcast; I <b>...</b>
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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 <b>...</b>
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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.
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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.
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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?
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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.
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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
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.
-----
"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.
