beadgc/fcgdaeb: AMEB GRADE 8 VOICE

Showing posts with label AMEB GRADE 8 VOICE. Show all posts

Thursday, August 6, 2009

Henry Purcell 'The Plaint'

"O let me weep" is a slow, beutiful and sorrowful aria sung by Titania at the end of "The Fairy Queen" by Purcell.

All the explanations about it are given by the performer, Yvonne Kenny, before the video of this aria.

Version used in the movie Hable Con Ella by Pedro Almodóvar

From "The Fairy Queen"
Composed by Henry Purcell

Arranged by Benjamin Britten and Imogen Holst
Published by Faber Music Ltd, London
Performed by Jennifer Vyvyan and the English Chamber Orchestra
Courtesy of Universal Music Spain, S.L.

Henry Purcell (1659 - 1695).

The Fairy-Queen (Z.629):

I. O, let me weep.

O, let me weep, for ever weep,
my eyes no more shall welcome sleep;
i'll hide me from the sight of day
and sigh, and sigh my soul away.
he's gone, he's gone; his loss deplore
and i shall never see him more.

Thanks to TeDarEMiAlmaPerdida.

Emma Kirkby (Soprano).

Cristopher Hogwood (organ).
Anthony Rooley (lute).
Richard Campbell (Viola da Gamba).
Catherine Mackintosh (Violin).

The Fairy-Queen is a masque or semi-opera by Henry Purcell; a Restoration spectacular It was first performed on 2 May 1692 at the Queen's Theatre, Dorset Garden in London by the United Company. The libretto is an anonymous adaptation of William Shakespeare's wedding comedy A Midsummer Night's Dream. Presumably the author or at least co-author of the libretto is Thomas Betterton, the manager of Dorset Garden Theatre with whom Purcell worked regularly.

This assumption is based on an analysis of Betterton's stage directions. A collaboration between several playwrights is also feasible. Choreography for the various dances was provided by Josias Priest, who also worked on Dioclesian and King Arthur, and who was associated with Dido and Aeneas. Purcell did not set any of Shakespeare's text to music; instead he composed music for short masques in every act but the first. The play itself was also slightly modernized in keeping with seventeenth-century dramatic conventions, but in the main the spoken text is as Shakespeare wrote it. The masques are related to the play metaphorically, rather than literally. Many critics have stated erroneously that they bear no relationship to the play, but recent scholarship has shown that the opera, which ends with a masque featuring Hymen, the God of Marriage, was actually composed for the fifteenth wedding anniversary of William and Mary.

A letter describing the original performance shows that the parts of Titania and Oberon were played by children of eight or nine. Presumably other fairies were also played by children, which changes our perspective of the staging.

"O let me weep" (The Fairy Queen, Z. 629)

Sylvia McNair with Vienna Concentus Musicus,
Conducted by Nikolaus Harnoncourt (1994)

Composer: Henry Purcell

Librettist (Playwright): Thomas Betterton(?)

Libretto:

http://opera.stanford.edu/Purcell/Fai...

Source: William Shakespeare's comedy A Midsummer Night's Dream
First performance: Dorset Garden, London, 1692

Voicing: Soprano solo, D minor ( she sings it a semitone lower, a common practice for Baroque music)

Genre: Secular, Aria
Language: English
Instruments: Violin (or oboe, or possibly recorder)and continuo

Published: 1689

The main source for this song is Orpheus Britannicus. The collection of songs by Henry Purcell entitled Orpheus Britannicus is in two volumes, published in 1698 and 1702 respectively. These include solo songs, duets and dialogues, and some songs for 3 voices. For more info:

http://en.wikipedia.org/wiki/Orpheus_...

The Fairy-Queen (Z.629) is a masque or semi-opera by Henry Purcell. It was first performed on May 2, 1692 at the Queen's Theatre, Dorset Garden in London by the United Company. The libretto is an anonymous adaptation of William Shakespeare's wedding comedy "A Midsummer Night's Dream". Presumably the author or at least co-author of the libretto is Thomas Betterton, the manager of Dorset Garden Theatre with whom Purcell worked regularly. This assumption is based on an analysis of Betterton's stage directions. A collaboration between several playwrights is also feasible. Choreography for the various dances was provided by Josias Priest, who also worked on Dioclesian and King Arthur, and who was associated with Dido and Aeneas. Purcell did not set any of Shakespeare's text to music; instead he composed music for short masques in every act but the first. The play itself was also slightly modernized in keeping with seventeenth-century dramatic conventions, but in the main the spoken text is as Shakespeare wrote it. The masques are related to the play metaphorically, rather than literally. Many critics have stated erroneously that they bear no relationship to the play, but recent scholarship has shown that the opera, which ends with a masque featuring Hymen, the God of Marriage, was actually composed for the fifteenth wedding anniversary of William and Mary. A letter describing the original performance shows that the parts of Titania and Oberon were played by children of eight or nine.Presumably other fairies were also played by children, which changes our perspective of the staging.

The Plaint O, let me Weep! is part of the masque in Act V of Purcell's The Fairy Queen, where Juno appears and sings first the Epithalamium Thrice happy lovers, and then The Plaint. Peter Holman suggests that the quality and the range of the obbligato instrument indicate a recorder, rather than the violin: if this were so it would be the only instance in Purcell's works of his writing for a single recorder. Clifford Bartlett in his edition of the Fairy Queen suggests violin or oboe as the appropriate instrument.

Some of the others who recorded this aria:
Alfred Deller
Emma Kirkby
Jennifer Vyvyan
Catherine Bott
Kym Amps
Nancy Argenta

O let me weep, for ever weep,
My Eyes no more shall welcome Sleep;

I'll hide me from the sight of Day,
And sigh, and sigh my Soul away.

He's gone, he's gone, his loss deplore;
And I shall never see him more.

Purcell's The Fairy Queen

1. Song: The Plaint- O let me weep

Lorraine Hunt, Soprano

Roger Norrington; London Classical Players

Wednesday, August 5, 2009

'Morgen' by Richard Strauss

Placido Domingo sings "Morgan" Op.27 No.4 by Richard Strauss with Itzhak Perlman, violin

One of Richard Strauss' best known songs, this work, a celebration of love, is inspired by the composer's feelings toward his wife, Pauline. The text is "Morgen," a poem by the German poet (of Scottish extraction), John Henry Morgan (1864-1933). The poem, which blends tranquil, reassuring images of nature with deep confidence in love, inspired a natural, flowing melody of extraordinary beauty. While the atmosphere of tranquillity remains fundamentally undisturbed, the smoothly ascending movement of the melody suggests feelings of deep, boundless joy, yearning to express its immensity. Providing discreet harmonic accompaniment and gentle melodic support, the piano part beautifully complements the solo. While Strauss is better known for his symphonic and operatic works, this work, composed in 1893-1894, identifies him as one of the great masters of the German Lied.

John McCormack was one of the greatest singers of the 20th century. A tenor of the bel canto school, he enjoyed an immensely successful career in opera, on the recital stage, and with the sale of his recordings. Born in Ireland in 1884 to working class parents, he early evinced a strong interest in a career as a singer, and in 1903 with very little formal training he won the gold medal as a tenor at the Irish National Music Festival, the Feis Ceoil. He studied briefly in Italy under Sabatini and returned to London in the autumn of 1906 seeking opportunities to sing professionally. It took him less than a year, for in the autumn of 1907 he made his debut at Covent Garden, at age 23 the youngest principal tenor ever to sing there. In less than three years he was singing opera in the United States too, as well as beginning a career on the recital stage that would make him one of the most successful singers of all time, both in the hearts of a virtually global public, and in the size of the financial reward he reaped from his concerts and recordings. In 1919 he became a citizen of the United States, his adopted country, and the one where his concert appeal had proven to be nearly universal and unrelenting. McCormack's active career lasted over forty years. He made his first recordings in 1904 and his last in 1942. He first sang professionally as early as 1902 and retired (in England) in 1938. One year after that farewell concert he was back singing for the Red Cross and in support of the war effort. He concertized, toured, broadcast, and recorded in this capacity until 1943, when failing health forced him to retire again. McCormack died in September 1945.

Dame Janet Baker sings Richard Strauss' beautiful lied 'Morgen'.

Richard Strauss
Morgen

Renée Fleming

Zhongshan Music Hall
Beijing
April 7th 2007
China Philharmonic Orchestra
Conductor.
Yu Long

Richard Strauss - Orchesterlieder
Morgen op. 27/4 ( John Henry Mackay)
Jessye Norman - soprano
Gewandhausorchester Leipzig, l982
conducted by Kurt Masur

http://www.youtube.com/watch?v=bu1eCzHg_8Y

Karita Mattila sings Strauss' Morgen Op. 27 No. 4 at the Helsinki festival in September 1986. Esa-Pekka Salonen conducts the Finnish RSO.

Strauss "Morgen"
Yana Boukoff
Yury Boukoff- Piano

The great German soprano Lotte Lehmann sings Richard Strauss' "Morgen!"... The Strauss' words in the clip, about Lehmann, mean "She has sung that even the stars cried" (thank you, GaetanoMejorano, for translation)... and you can find it at her grave at Wiener Zentralfriedhof.

MORGEN! (Op. 27, No. 4)
Richard Strauss (1864-1949)
Lyrics by John Henry Mckay (1864-1933)

"Und morgen wird die Sonne wieder scheinen,
Und auf dem Wege, den ich gehen werde,
Wird uns, die Glücklichen, sie wieder einen
Inmitten dieser sonnenatmenden Erde...

Und zu dem Strand, dem weiten, wogenblauen,
Werden wir still und langsam niedersteigen,
Stumm werden wir uns in die Augen schauen,
Und auf uns sinkt des Glückes stummes Schweigen..."

Wednesday, June 24, 2009

Ständchen - Richard Strauss

Una Noche de Musica y Danca
Die junge deutsche Sopranistin Marén Elisabeth Kroll stellt sich vor-
Lieder- und Arienabend der Deutschen Botschaft in Panama im Nationaltheater Panama.

Diana Damrau
Schubertiade Schwarzenberg, 2007
Piano: Stephan Matthias Lademann

Leontyne Price
R.Strauss: Standchen. Salzburg Grosses Festspielhaus 15 August 1984. David Garvey piano.

Kathleen Battle, soprano (1991)
Warren Jones, piano
'Standchen'by Richard Strauss (1864-1949)

Kiri Te Kanawa , Georg Solti

Bryan Hymel sings Ständchen and Zueignung of Richard Strauss.

Birgit Nilsson, Ständchen(Serenade)op.17,n°2,J anos Solyom(piano)1975

Soprano: Sarah Mayo, a graduate student at George Mason University under Prof. Debby Wenner.
Piano: Dr. Patricia Parker.
Recorded 27 April 2008.
Audio and video recording and post production: Richard Demy and George Austin, One Note Shy Classical recording(info@onenoteshy.com), with special thanks to Mr. Mayo.

Nicolai Gedda

A YOUNG GEORGES THILL(AGED 33) SINGS RICHARD STRAUSS SERENADE...

Herbert Lippert, Tenor
Erich Binder, Piano

Lotte Lehmann, Radio recital, 1941

Ständchen ("Mach' auf, mach' auf, doch leise, mein Kind"), Op. 27, No 2
Lyrics: Adolf Friedrich von Schack
Music: Richard Strauss
Baritone: Hermann Prey
Piano: Karl Engel
Recorded in Decca Studio No 3, West Hampstead, London, October 1962

Ständchen, by Richard Strauss, performed by Elizabeth Maurey, soprano, and Ron Maurey, piano. Recorded live, in a performance at Indiana State University, October 14, 2008.

Wednesday, April 15, 2009

'Batti Batti, o bel Masetto'

Date: 7 July 1988
Venue: Royal Opera House, Covent Garden, London
Composer: Wolfgang Amadeus Mozart
Librettist: Lorenzo da Ponte

Conductor: Colin Davis

Leporello: Stafford Dean
Donna Anna: Makvala Kasrashvili
Don Giovanni: Thomas Allen
Il commendatore: Gwynne Howell
Don Ottavio: Stuart Burrows
Donna Elvira: Kiri Te Kanawa
Zerlina: Joan Rodgers
Masetto: Gordon Sandison

Zerlina - Don Giovanni
Rosa Elvira Sierra - Zerlina
Christoph Campestrini - Cond.
20/05/2007

Performed in Leipzig by Ruth Engel Brown

First aria of Zerlina from Don Giovanni, by Mozart. Anna Netrebko, soprano.

http://www.Mootnotes.com - Art, Literature, Music, Philosophy, Shakespeare

Teatro alla Scala, 1987
Conductor: Riccardo Muti
Masetto: Natale de Carolis
Zerlina: Susanne Mentzer

"Batti, batti o bel Masetto" from the Mozart's opera Don Giovanni conducted by Michael Halasz with the Philharmonic Orchestra of Rome, filmed live in Teatro Argentina in Rome (Italy) by Enrico Castiglione.

Kathleen Battle (ZERLINA) singing Aria "Batti, batti, o bel Masetto" with Wiener Philharmoniker conducted by Herbert Von Karajan;

ZERLINA;
Batti, batti, o bel Masetto,
La tua povera Zerlina;
Starò qui come agnellina
Le tue botte ad aspettar.
Lascierò straziarmi il crine,
Lascierò cavarmi gli occhi,
E le care tue manine
Lieta poi saprò baciar.
Ah, lo vedo, non hai core!
Pace, pace, o vita mia,
In contento ed allegria
Notte e dì vogliam passar,
Si, notte e dì vogliam passar.

http://www.youtube.com/watch?v=gKkOKD...
Mozart: Don Giovanni
Met - April 1990 - James Levine (c) - Franco Zefirelli (dir)
Character Artist
Giovanni Samuel Ramey
Anna Carol Vaness
Elvira Karita Mattila
Ottavio Jerry Hadley
Leporello Ferruccio Furlanetto
Zerlina Dawn Upshaw
Masetto Philip Cokorinos
Commendatore Kurt Moll

DON GIOVANNI
Finch'han dal vino
Calda la testa
Una gran festa
Fa preparar.
Se trovi in piazza
Qualche ragazza,
Teco ancor quella
Cerca menar.
Senza alcun ordine
La danza sia;
Chi il minuetto,
Chi la follia,
Chi l'alemanna
Farai ballar.
Ed io frattanto
Dall'altro canto
Con questa e quella
Vo' amoreggiar.
Ah! la mia lista
Doman mattina
D'una decina
Devi aumentar!

ZERLINA
Batti, batti, o bel Masetto,
La tua povera Zerlina;
Starò qui come agnellina
Le tue botte ad aspettar.
Lascerò straziarmi il crine,
Lascerò cavarmi gli occhi,
E le care tue manine
Lieta poi saprò baciar.
Ah, lo vedo, non hai core!
Pace, pace, o vita mia,
In contento ed allegria
Notte e dì vogliam passar,
Sì, notte e dì vogliam passar.

Don Giovanni
Wolfgang Amadeus Mozart

Batti, batti o bel Masetto

Zerlina......Miah Persson
Masetto......Robert Gleadow
Conductor....Charles Mackerras

ROH 2008

Don Giovanni W.A Mozart Salzburgo 2008
Christopher Maltman (Don Giovanni)
Anatoly Kocherga (Il commandatore)
Annette Dasch (Donna Anna)
Matthew Polenzani (Don Ottavio)
Dorothea Röschmann (Donna Elvira)
Erwin Schrott (Leporello)
Ekaterina Siurina (Zerlina)
Alex Esposito (Masetto)
Conductor: Bertrand de Billy
Director: Claus Guth
Sets & Costumes: Christian Schmidt
Lights: Olaf Winter
Choreography: Ramses Sigl

Salzburg Festival August 2008

From "A Portrait" CD!

Anna Moffo
Also see Vedrai Carino
http://www.youtube.com/watch?v=G6LP_t...

Batti, batti, o bel Masetto,
la tua povera Zerlina;
starò qui com'agnellina
le tue botte ad aspettar.
Batti, batti, ecc.
Lascierò straziarmi il crine,
lascierò cavarmi gli occhi,
e le care tue manine
lieta poi saprò baciar.
Batti, batti, ecc.
Ah, lo vedo, non hai core!
Pace, pace, o vita mia,
in contenti ed allegria
notte e dì vogliam passar,

Beat me, beat me, my Masetto,
beat your poor Zerlina.
I'll stay here like a lamb
and await your every blow.
Beat me, beat me, etc.
I'll let you pull my hair out,
I'll let you gouge my eyes out,
and then happily I will kiss
your wonderfully sweet hands.
Beat me, beat me, etc.
Ah, I see you have no heart!
Let's make up, my own true love.
In happiness and joy
we must pass the days and nights,

Frappe, frappe, ô bel Masetto,
ta pauvre Zerlina ;
je serai là comme une agnelle
à attendre tes coups.
Frappe, frappe, etc.
Je te laisserai m'arracher les cheveux,
je te laisserai m'enlever les yeux,
et tes petites mains adorées,
heureuse, ensuite je saurai embrasser.
Frappe, frappe, etc.
Ah, je le vois, tu n'en as pas le coeur !
La paix, la paix, ô ma vie,
dans le bonheur et la joie
nuits et jours nous voulons passer,

Schlag mich, schlag mich, mein Masetto,
schlag deine arme Zerlina;
ich werde stehen wie ein Lamm
und deine Schläge erwarten.
Schlag mich, schlag mich, usw.
Du kannst mir das Haar ausreißen,
mir die Augen auskratzen,
und ich werde beglückt
deine lieben Hände küssen.
Schlag mich, schlag mich, usw.
Ach, ich sehe, du hast kein Herz!
Frieden, Frieden, o mein Leben,
glücklich und voller Freude
wollen wir Tage und Nächte verbringen,

Huguette Tourangeau as Zerlina! Richard Bonynge Conductor. Met, New York. http://operafree.forumfree.net

Batti Batti in English from Mozart's Don Giovanni. Karen Burlingame and Barry Johnson, 2001 performance. Benton Hess, conductor. David Bartholomew, director. For those concerned that it's in English, it's not a concert performance. It's an excerpt from a performance of the entire opera, from a company that performed in the local vernacular.

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April 12, 2008
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From DG performance sung in Arabic at 8th Al Ain Festival, Abu Dhabi, UAE on 6 March 2008. Arabic Libretto Aly Sadek, Director Ryszard Peryt, Musical Direction Zbigniew Graca conducting Warsaw Phil...
From DG performance sung in Arabic at 8th Al Ain Festival, Abu Dhabi, UAE on 6 March 2008. Arabic Libretto Aly Sadek, Director Ryszard Peryt, Musical Direction Zbigniew Graca conducting Warsaw Philharmonic (Chamber) Orchestra. Soloists: Toufic Maatouk(Don Giovanni), Raouf Zaidan(Leporello), Cynthia Samaha(Anna), Ziad Nehme(Ottavio), Caroline Solage(Elvira), Nadine Nassar(zerlina), Hatem el Geneddy(Commendatore/Masetto). Commissioned by ADCC and ADACH, president Sheikh sultan Bin Tahnoon, Chairman Zaki Nusseibeh.

Don Giovanni
Wolfgang Amadeus Mozart

Batti, batti, o bel Masetto

Zerlina....Angelika Kirchschlager
Masetto....Lorenzo Regazzo
Conductor..Ricardo Muti

Viena 20-06-1999