During these eleven months of blog I have always offered complete works but I've never focused on any particular artist. Well, to fill the void of gigs in La Gazzetta, today I will offer a special concert by three in the world of opera: Marilyn Horne and Joan Sutherland led by him Siamese latter husband, Richard Bonynge . Mission (almost) impossible to see Sutherland and Bonynge separately: where is an (almost) always goes the other.
Well, let's take a quick look at these two voices of the opera world. Marilyn Horne was born in Bradford, Pennsylvania in 1934. He studied with William Vennard and Lotte Lehmann before making his operatic debut as Hata in The Bartered Bride, Los Angeles. His historic Adalgisa, with Joan Sutherland Standard, took the Metropolitan in New York, which also has represented other major characters. In 1957 launched the stage career in the German city of Gelsenkirchen. This was contracted for three seasons, during which she sang, among other works, La Fanciulla del West and Wozzeck, an opera that marked his debut in the San Francisco Opera (1960) and Covent Garden (1964). Predisposition exceptional technical and Rossini stylist repertoire is, along with Sutherland, the most authoritative repository of the secrets of bel canto, demonstrated not only in the vocal flexibility and accuracy and ductility of the frills and ornaments, but also in possession of a mordant and typical outburst the song "di bravura", supported by an exceptional sense of style and great musicality (courtesy of epdlp.com )
Joan Sutherland was born in Sydney in 1926. He studied with John and Aida Dickens in Sydney until 1950. In 1950 Mobil Quest wins and continues his training in London with Clive Carey. His career changed dramatically when he met the pianist Richard Bonynge, whom he married on October 16, 1954. He was convinced that Joan had an adequate voice for bel canto soprano and helped to develop this capability. Her operatic debut took place at Covent Garden in 1952 as First Lady in The Magic Flute. This presentation was followed by an interpretation of Clotilde in Bellini's Norma with Maria Callas in the title role. In later years she sang supporting roles in The Valkyrie and Elektra, and in 1955 he participated at the world premiere of Tippett's Midsummer Marriage and the English premiere of The Dialogue of the Carmelites by Poulenc. Covent Garden soon realized its potential as a bel canto soprano and entrusted Emilia de Liverpool roles in Donizetti and Handel's Alcina. On February 17, 1959 Joan Sutherland shot to fame after making its first version of Lucia di Lammermoor. As his career was rising, Joan debuted in works that would become the most famous of his repertoire: Elvira in The Puritans (May 24, 1960) and Norma (October 17, 1963). In the last shared stage with the equally legendary mezzo-soprano Marilyn Horne. Was quickly considered the main dramatic coloratura soprano of the era and successfully debuted in Italy, France, USA and Austria to address the repertoire Rossini-Bellini-Donizetti. After his Italian debut in La Fenice in 1960 was known as the Stupendo. In later years appeared in The Daughter of the Regiment (June 2, 1966), Rosalinda in Die Fledermaus (September 8, 1973) and Anna Glavari in The Merry Widow (April 22, 1976). Also achieved fame for his roles in works by Handel and the continued recovery of forgotten operas, which also leads to the album with her husband, director Richard Bonynge. Works versions are reborn in Beatrice di Tenda, Rodelinda, Esclarmonde, Le Roi de Lahore and I Masnadieri. Another milestone in his career was the interpretation of the four soprano roles in a version of The Tales of Hoffmann held at the Sydney Opera House. In 1979 she was named Dame and in 1990 withdrew the opera after nearly four-decade career. His last appearance in a full opera was for a version of The Huguenots assembled in the Sydney Opera House in October of that year. His farewell was at the scene of the Feast of the second act of Die Fledermaus at the 1990-91 New Year's gala at Covent Garden. On May 6, 1998 was Day said Dame Joan Sutherland in the city of New York by Mayor Rudolph Giuliani (courtesy of radiobeethovenfm.cl ).
I offer The concert was held on June 12, 1985 in Sydney, with the Elizabethan Sydney Orchestra under the direction of the aforementioned Bonynge, competent as ever. Going to listen to Marilyn Horne vocally splendid, as usual in it. Joan Sutherland accused and a strong vocal wear, but who had retained. The concert program is as follows:
01. Handel - Semele "Iris, Henco away"
02. Handel - Alcina "Tornami to vaneghiar"
03. Rossini - La donna del lago "Mura felice"
04. Rossini - The cambial di matrimonio "Vorrei spiegarvi"
05. Rossini - Semiramide "Serbami ognor if fido il cor"
06. Delibes - Lakmé "Viens, Malika, creepers in bloom"
07. Offenbach - Les contes d'Hoffmann "Birds in charmielle"
08. Saint-Saens - Samson et Dalila "My heart opens to your voice"
09. Auber - Fra Diavolo "No temet Milord"
10. Meyerbeer - Les Huguenots "Non, jamais n'aurez vois you gage"
11. Bellini - Norma "Look, or Norma"
12. Offenbach - Les Contes d'Hoffmann "Belle nuit"
In short, a most enjoyable concert. Here I leave the link to the recording, fragmented and good sound: single CD
Have fun!
Well, let's take a quick look at these two voices of the opera world. Marilyn Horne was born in Bradford, Pennsylvania in 1934. He studied with William Vennard and Lotte Lehmann before making his operatic debut as Hata in The Bartered Bride, Los Angeles. His historic Adalgisa, with Joan Sutherland Standard, took the Metropolitan in New York, which also has represented other major characters. In 1957 launched the stage career in the German city of Gelsenkirchen. This was contracted for three seasons, during which she sang, among other works, La Fanciulla del West and Wozzeck, an opera that marked his debut in the San Francisco Opera (1960) and Covent Garden (1964). Predisposition exceptional technical and Rossini stylist repertoire is, along with Sutherland, the most authoritative repository of the secrets of bel canto, demonstrated not only in the vocal flexibility and accuracy and ductility of the frills and ornaments, but also in possession of a mordant and typical outburst the song "di bravura", supported by an exceptional sense of style and great musicality (courtesy of epdlp.com ) 
Joan Sutherland was born in Sydney in 1926. He studied with John and Aida Dickens in Sydney until 1950. In 1950 Mobil Quest wins and continues his training in London with Clive Carey. His career changed dramatically when he met the pianist Richard Bonynge, whom he married on October 16, 1954. He was convinced that Joan had an adequate voice for bel canto soprano and helped to develop this capability. Her operatic debut took place at Covent Garden in 1952 as First Lady in The Magic Flute. This presentation was followed by an interpretation of Clotilde in Bellini's Norma with Maria Callas in the title role. In later years she sang supporting roles in The Valkyrie and Elektra, and in 1955 he participated at the world premiere of Tippett's Midsummer Marriage and the English premiere of The Dialogue of the Carmelites by Poulenc. Covent Garden soon realized its potential as a bel canto soprano and entrusted Emilia de Liverpool roles in Donizetti and Handel's Alcina. On February 17, 1959 Joan Sutherland shot to fame after making its first version of Lucia di Lammermoor. As his career was rising, Joan debuted in works that would become the most famous of his repertoire: Elvira in The Puritans (May 24, 1960) and Norma (October 17, 1963). In the last shared stage with the equally legendary mezzo-soprano Marilyn Horne. Was quickly considered the main dramatic coloratura soprano of the era and successfully debuted in Italy, France, USA and Austria to address the repertoire Rossini-Bellini-Donizetti. After his Italian debut in La Fenice in 1960 was known as the Stupendo. In later years appeared in The Daughter of the Regiment (June 2, 1966), Rosalinda in Die Fledermaus (September 8, 1973) and Anna Glavari in The Merry Widow (April 22, 1976). Also achieved fame for his roles in works by Handel and the continued recovery of forgotten operas, which also leads to the album with her husband, director Richard Bonynge. Works versions are reborn in Beatrice di Tenda, Rodelinda, Esclarmonde, Le Roi de Lahore and I Masnadieri. Another milestone in his career was the interpretation of the four soprano roles in a version of The Tales of Hoffmann held at the Sydney Opera House. In 1979 she was named Dame and in 1990 withdrew the opera after nearly four-decade career. His last appearance in a full opera was for a version of The Huguenots assembled in the Sydney Opera House in October of that year. His farewell was at the scene of the Feast of the second act of Die Fledermaus at the 1990-91 New Year's gala at Covent Garden. On May 6, 1998 was Day said Dame Joan Sutherland in the city of New York by Mayor Rudolph Giuliani (courtesy of radiobeethovenfm.cl ). I offer The concert was held on June 12, 1985 in Sydney, with the Elizabethan Sydney Orchestra under the direction of the aforementioned Bonynge, competent as ever. Going to listen to Marilyn Horne vocally splendid, as usual in it. Joan Sutherland accused and a strong vocal wear, but who had retained. The concert program is as follows:
01. Handel - Semele "Iris, Henco away"
02. Handel - Alcina "Tornami to vaneghiar"
03. Rossini - La donna del lago "Mura felice"
04. Rossini - The cambial di matrimonio "Vorrei spiegarvi"
05. Rossini - Semiramide "Serbami ognor if fido il cor"
06. Delibes - Lakmé "Viens, Malika, creepers in bloom"
07. Offenbach - Les contes d'Hoffmann "Birds in charmielle"
08. Saint-Saens - Samson et Dalila "My heart opens to your voice"
09. Auber - Fra Diavolo "No temet Milord"
10. Meyerbeer - Les Huguenots "Non, jamais n'aurez vois you gage"
11. Bellini - Norma "Look, or Norma"
12. Offenbach - Les Contes d'Hoffmann "Belle nuit"
In short, a most enjoyable concert. Here I leave the link to the recording, fragmented and good sound: single CD
Have fun!
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