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"capriccio" Definitions
  1. FANCY, WHIMSY
  2. CAPER entry
  3. an instrumental piece in free form usually lively in tempo and brilliant in style

447 Sentences With "capriccio"

How to use capriccio in a sentence? Find typical usage patterns (collocations)/phrases/context for "capriccio" and check conjugation/comparative form for "capriccio". Mastering all the usages of "capriccio" from sentence examples published by news publications.

Capriccio Bubbly Sangria, however, has received other descriptions on Twitter.
"Our usual customers are small, mom-and-pop restaurants," Nick Capriccio said.
Richard Strauss wrote his brilliant last opera, "Capriccio," on this very theme.
Capriccio Bubbly Sangria is an alcoholic beverage that's 13.9 percent alcohol by volume.
Also on the bill are Rimsky-Korsakov's "Capriccio espagnol" and Dvorak's Symphony No. 8.
"Kay so about the Capriccio its all true it is VERY true," a user chimed in.
"my final verdict on the capriccio is that I will not spend $11.28 on that again," a Twitter user wrote.
Chelsea Luelo, who works at Capriccio Café, saw the incident unfold in Toronto, and said she thought the driver was hitting people intentionally.
The narrative shifts to Manhattan, where in "Capriccio" the middle-aged Oliver, an academic, gets crushes on his younger colleagues (both male and female).
It's worth pointing out that the ACS opera date follows a Capriccio performance in San Francisco where Andrew is dressed in quite a dapper manner.
There were two options that became available to me when it identified "Capriccio with St. Paul's and Old London Bride": information from The Met and biographical information.
It's true that Versace designed the costumes for a production of Capriccio at the San Francisco Opera, and stayed in the city during its run in 1990.
The sale's top lot, Giovanni Antonia Canal's (called Canaletto) "A capriccio with an ancient tomb monument to the left, and a watermill to the right," sold for $396,500.
Emanuel Ax plays twice, as the soloist in Haydn's Piano Concerto No. 11 and Stravinsky's Capriccio; on either side, Jaap Van Zweden conducts Mozart's first and last symphonies.
Phillip Capriccio, the second-generation owner of a wholesale liquor business near Los Angeles, concocted a tequila-like agave wine a decade ago and began stocking it on his shelves.
The pianist Emanuel Ax's turn in Stravinsky's Capriccio for Piano and Orchestra had elegant energy running through it, as did Jaap van Zweden's approach to Mozart's Symphony No. 41 ("Jupiter").
A friend of the spree killer, Steven Gomer, also told Orth he once saw Cunanan in a tuxedo and he claimed he had just come from seeing Capriccio "with Gianni Versace," Vanity Fair reports.
The works included a striking capriccio, "The Port of Rome, Adorned with Various Architectural Monuments Ancient and Modern" (on show here), in which the artist boldly relocated the Pantheon to Ripetta on the banks of the Tiber.
It was an all-Richard Strauss program highlighted by the star soprano Renée Fleming singing a concert version of the closing scene from his final opera, "Capriccio," which she triumphed in at the Metropolitan Opera in 2011.
And then we have the final flashback, the "Rosebud" moment: a scene in which we return to the San Francisco opera house where, it is imagined, Versace and Cunanan met during a 1990 production of "Capriccio" that Versace designed.
Mr. Thielemann said that he had recommended Puccini's Madama Butterfly to her and thinks that her interpretations of the mature, subtle women of Strauss — the title character in "Ariadne auf Naxos," the Marschallin in "Der Rosenkavalier," the Countess in "Capriccio" — will be touchstones in the years to come.
The opening "Emeralds" is Romantic poetic medievalism set to items by Fauré (composed as incidental music for "Pelléas and Mélisande" and "Shylock"); the central "Rubies" is a modernist jazzy frolic to Stravinsky's Capriccio for piano and orchestra; and the final "Diamonds" is classically grand to the final four movements of Tchaikovsky's five-movement third ("Polish") symphony.
Matt Ginsberg, if you are out there, I'd be interested to know how Dr. Fill (computer program that solves crosswords) did on this puzzle — I can imagine smoke coming out of the computer's vents after a few minutes… The composer NIKOLAI Rimsky-Korsakov is well known for many pieces, not the least of which is "Flight of the Bumblebee," but let's end with his beautiful "Capriccio Espagñol" instead: Your thoughts?
This is a partial discography of Capriccio, Richard Strauss's opera from 1942. Capriccio: A Conversation Piece for Music is his final opera.
Holger Groschopp. :Capriccio C7015 (Capriccio prod. page Accessed 21 August 2014.) ::Released 2009. :Reviewed favourably by Adrian Corleonis in Fanfare 33:4 (Mar/Apr 2010).
In 2018 Persson sang her first Countess Madeleine in Capriccio at Garsington.
JVC Victor, Hyperion Records,Hyperion Records Official Website . and Capriccio (record label).
A capriccio (Italian: "following one's fancy") is a tempo marking indicating a free and capricious approach to the tempo (and possibly the style) of the piece. This marking will usually modify another, such as lento a capriccio, often used in the Hungarian Rhapsodies of Franz Liszt. Perhaps the most famous piece to use the term is Ludwig van Beethoven's Rondò a capriccio (Op. 129), better known as Rage Over a Lost Penny.
In 2014, he made his debut at the Chicago Lyric Opera singing Olivier in Strauss' 'Capriccio'.
The Capriccio for Violin and Orchestra is a composition by Polish composer Krzysztof Penderecki. It is one of the five caprices that he composed and one of the two that he composed for a soloist with an orchestra, together with the Capriccio for Oboe and Eleven Instruments.
The Capriccio for Piano and Orchestra () was written by Igor Stravinsky in Nice between 1926 and 1929. The score was revised in 1949. Stravinsky designed the Capriccio to be a virtuosic vehicle which would allow him to earn a living from playing the piano part. The Capriccio, together with the Concerto for Piano and Wind Instruments, belonged to a catalogue of breadwinning pieces which Stravinsky composed to support himself after fleeing the Russian Revolution to live in Western Europe.
2004 Capriccio 2004 The work premiered in Vienna, Austria during the advent season of 1776. In 2004 Capriccio released a recording of the work by the Das Neue Orchester and Chorus Musicus Köln under conductor Christoph Spering with soloists Melba Ramos, Hanno Müller-Brachmann, Franziska Gottwald, and Florian Mock.
Fantasy view with the Pantheon and other monuments of Ancient Rome, 1737, by Giovanni Paolo Panini In painting, a capriccio (, plural: capricci ; in older English works often anglicized as "caprice") means an architectural fantasy, placing together buildings, archaeological ruins and other architectural elements in fictional and often fantastical combinations. These paintings may also include staffage (figures). Capriccio falls under the more general term of landscape painting. The term is also used for other artworks with an element of fantasy (as capriccio in music).
4323 ::XXIV. Suiten und 2 Sonaten [Suites and 2 Sonatas] :::Ed. by Mugellini; Issued 1921; cat. no. 4324 ::XXV. 3 Sonaten [3 Sonatas]; :::Konzert und Fuge C moll [Concerto and Fugue in C minor] (BWV 909); ::: Capriccio E dur [Capriccio in E major] (BWV 993); :::3 Menuette [3 Menuets] :::Ed.
Italian Journey: Astonishing vedutas of Venice by Canaletto and his followers, closing the exhibition with the best-known capriccio.
While on the spectrum from Kodály's romantic style to the more aggressive style of Bartók, the Dialogo is considered closer to Kodály, the Capriccio is Bartókian. In fact, the title Capriccio was a direct reference to the famously brilliant Caprices for violin by Niccolò Paganini, which Ligeti had encountered as a child.Steinitz, 51. In contrast to the lyrical, rubato Dialogo, the Capriccio is written almost entirely in an unrelenting pattern, breaking only once, abruptly in the middle for a truncated reminiscence of the Dialogo.
There are several etymologies that have been put forward for "capriccio", one of which being derived from the Italian word "capretto" which roughly translates to the unpredictable movement and behavior from a young goat. This etymology suggests that the art style is unpredictable and as open as the imagination can make it. Filippo Baldinucci defined capriccio as a dreamlike interpretation of the subject of a work that comes from a free imagination. Capriccio works often surround architecture that has been changed with pieces of a view that has taken artistic liberty into account.
An adagio may set a gouty father to sleep, and a capriccio may operate successfully on the nerves of a valetudinary mother.
In 1958, Zhao, Zhenxiao and Lu Rilong, professors of Xi'an Conservatory of Music, created the “Capriccio on a Qinqiang Theme”, which is inspired by Shaanxi Opera, in order to promote the development of national music. The “Capriccio on Qinqiang Theme” is a representative work of the Qingqiang style. This music work is written for Erhu, which is called Chinese violin.
Oxford Art Online. Oxford University Press. Web. 24 Apr. 2016 A well known proponent of capriccio was the artist Giovanni Paolo Pannini (1691–1765).
Americana for Piano Solo Barcarolle (op. 9) Berceuse for Piano Solo Boogie Woogie Etude Burlesque Capriccio in E-flat Major (op. 39) Capriccio in F-sharp Major (op. 5) Dutch Dance Gavotte in B Minor Gavotte in D Major Grand Valse Chromatique Indian Sacrifice Menuet in A Minor Menuet in Classic Style The Music Box The Music Box: Cracoviene Polish Natinoale Dans Poeme (op.
In 2000 he collaborated with John Stoddart to stage Capriccio at the Sydney Opera House during the 2000 Summer Olympics. He has also worked widely in Europe and the USA. Milnes mentions in particular Daphne in Munich, Don Carlos in San Francisco, Un ballo in maschera in Sydney and Patience, one of the English National Opera's longest-running successes. For the Metropolitan Opera, New York, Cox directed Capriccio in 2011.
Walter Piston's Capriccio for Harp and String Orchestra, was commissioned in 1963 by Broadcast Music Incorporated on the occasion of its twentieth anniversary, and is dedicated to the harpist Nicanor Zabaleta, who premiered it in Madrid on October 19, 1964.Steven Lowe Liner notes to Walter Piston: Symphony No. 4, Capriccio for Harp and String Orchestra, Three New England Sketches. Seattle Symphony Orchestra; Gerard Schwarz, conductor. Naxos CD 8.559162.
In the pre-War period, his Friedenstag (1938) and Capriccio were premièred in Munich. In the post-War period, the house has seen significant productions and many world premieres.
Capriccio su melodie belliniane op. 12 Fantasia sui motivi della “Beatrice da Tenda” op. 21 Scherzo “Il Carnevale di Venezia” op. 22 Fantasia sui motivi di “Luisa Miller” op.
Località: Codivernarolo, Battana Prati, Capriccio, Luganega, Barbariga, Carpane, Bagnoli, and Santa Maria. Vigonza borders the following municipalities: Cadoneghe, Campodarsego, Fiesso d'Artico, Noventa Padovana, Padua, Pianiga, Stra, Villanova di Camposampiero.
The Capriccio with Palladian buildings () is an oil painting on canvas (58x82 cm) by Canaletto, dating from about 1756 to 1759 and stored in the Galleria Nazionale Di Parma.
His preferred subject matter was love, typically unrequited, and he set texts by Petrarch, Ariosto, Luigi Tansillo, Luigi Cassola, and others. One of his most ambitious projects was a setting of 91 stanzas of Ariosto's Orlando furioso, entitled Capriccio (this is the earliest known use of "Capriccio" as a musical title). This work first appeared in his 1561 madrigal collection, published by Antonio Gardano, and was dedicated to Alfonso II d'Este.Lewis, p.
Capriccio espagnol, Op. 34, is the common Western title for a five movement orchestral suite, based on Spanish folk melodies, composed by the Russian composer Nikolai Rimsky-Korsakov in 1887. Rimsky-Korsakov originally intended to write the work for a solo violin with orchestra, but later decided that a purely orchestral work would do better justice to the lively melodies. The Russian title is Каприччио на испанские темы (literally, Capriccio on Spanish Themes).
Capriccio—an enormous mural by Whistler, his last finished mural—decorates the dining room, from whose windows the Menai Suspension Bridge, a symbol of the Industrial Revolution, can be seen.
University of Wisconsin Press. The critic from El Ciervo described his interpretation of La Roche in Capriccio as "unforgettable" and showing "absolute mastery of the role",Suñén, Luis (February 1997).
The request was rejected by the Spanish Crown stating insufficiency of funds at that time. An architectural capriccio with figures and an obelisk. Vicente Giner / oil on canvas / 129.5 × 203 cm.
Askell Másson Capriccio for Darabuka & Orchestra. October 22, 2017 World Premiere. Iceland – Akureyri Hof Concert House. Sinfonia North, Askell Masson (Darabuka), Petri Sakari (cond.) Francisco Coll Mural was premiered by www.philharmonie.
Some of his paintings were formerly attributed to Viviano Codazzi, including the Architectural Capriccio with Figures and an Obelisk and the Architectural Capriccio (both in the collections of the National Trust).. Works at the National Trust. The re-attribution of the latter was made by art historian David Marshall in 1987 who argued that the composition was clearly dependent upon Codazzi's paintings of the 1660s, but was executed in a flatter, dull and less precise manner. The figures were painted clearly by another hand from that of the painter of the architecture.Vicente Giner, An Architectural Capriccio at the National Trust Collections His compositions often include figures which represent a religious scene but without attempting to depict a particular biblical episode.
In 2013, a work by Clérisseau described as "Capriccio of roman ruins, with figures in the foreground," signed, was auctioned at Sotheby's for £20,000. Also in 2013, a work by Clérisseau described as "A capriccio of Classical ruins with peasants in the foreground," signed and dated 1773, was auctioned at Sotheby's for $40,635. In 2012, a lot of two works by Clérisseau described as "Two architectural capricci with peasants, musicians and other figures frolicking among classical ruins," signed and dated 1773 and 1774, was auctioned at Christie's for $74,500. At the same auction, another lot of two works by Clérisseau described as "Architectural capriccio; and The Tomb of the Curiatii at Albano," the first signed and dated 1781, the second signed, was auctioned at Christie's for $11,250.
Bonaventura Bottone's North American engagements include: Capriccio (Italian Singer) and Andrea Chénier (Incredibile) at the Metropolitan Opera; Capriccio (Italian Tenor), Die Fledermaus (Alfred), Das Rheingold (Loge) and Sweeney Todd (Pirelli) at the Lyric Opera of Chicago; and Die Entführung aus dem Serail (Pedrillo) at Houston Grand Opera. In 2008, he was selected by Plácido Domingo and James Conlon to recreate the role of Licht in the forgotten Viktor Ullmann opera Der zerbrochene Krug (The Broken Jug) (Kleist).
A Selection of Photographic Plates by Thomas Bak. The Photographic Capriccio. (1998–2008)Thomas Tadeus Bak is a German visual artist, art director, writer and composer, mainly known for his work in photography.
The Capriccio on the departure of a beloved brother (Italian: Capriccio sopra la lontananza del suo fratello dilettissimo), BWV 992, is an early work by Johann Sebastian Bach, possibly modeled on the Biblical Sonatas of Johann Kuhnau.David Schulenberg, The Keyboard Music of J.S. Bach, 2nd ed. (New York: Routledge, 2007), p. 86. The story that Bach performed it at age nineteen when his brother Johann Jacob left to become an oboist in the army of Charles XII in Sweden is questionable.
This was aided by the fact that architecture commonly is composed of strong lines, both horizontal and vertical that can be analogous to other architectural works, making it possible to take parts of other architectural works and fit them into the new artistic view of a particular building that was being recreated in the form of capriccio. Some artists took elements that didn't belong in the original inspiration such as people, animals, or plants and incorporated them into the work. It is important to remember that in the realm of capriccio, a painting of a building is not a record or history, but is a piece of artwork before anything. As paintings of capriccio were recreated by different artists, the original form of the subject was able to move farther from reality.
Morrison, p. 4 Capriccio in E major: Dedicated to Madame Jean Leonard Koechlin.Phillips, p. 133 Morrison calls it "capricious indeed", and notes a harmonic twist at the end "as nonchalant as it is acrobatic".
Apocalypse in Lilac, Capriccio Apocalypse in Lilac, Capriccio is a 1945 gouache painting by the Russian-born artist Marc Chagall. The 20-inch by 14-inch work was created by Chagall in response to the devastation brought by the Holocaust; its imagery consists of a crucified Jesus Christ screaming at a Nazi storm trooper while other acts of violence – another crucifixion, a man being hanged and an adult male stabbing a child – can be seen in the background while an inverted clock falls out of the sky.
The two pieces were composed when Ligeti was still studying in Sandor Veress's class at the Franz Liszt Academy of Music, this is, as a part of his academic exercises. These represent the beginning of the shedding of Béla Bartók's and other Hungarian composer's influence, as he was asked to write it in his own style. Strangely, the second capriccio was composed first, in the spring of 1947, and the second capriccio was composed in November 1947. Both capricci are dedicated to Márta Kurtág.
Amo te solo, te solo amai, (s.a., 1825?), RL 41 Aria e vocalizzio, (s.a., 1827?), RL 42 Il capriccio (s.a., 1815?), RL 43 Ch’io mai vi possa, (s.a., 1825?), RL 44 Clori mia bella Clori, (s.a.
Capriccio, also released with the international titles Love & Passion and Capri Remembered, is an Italian erotic drama film directed by Tinto Brass. It is a liberal adaptation of the novel Le lettere da Capri by Mario Soldati.
In the autumn of 2004 at the Opéra National de Paris, she sang in her first Strauss opera, the title role of Ariadne auf Naxos. In 2007, she returned to Paris to sing The Countess in Capriccio.
Frank Pappajohn) ;Ferde Grofé :Mississippi Suite, "A Journey in Tones" (trans. Don Chown) ;Paul Hindemith :Symphonic Metamorphoses on Themes by Carl Maria von Weber (trans. Keith Wilson) ;Gustav Holst :Capriccio (trans. John Boyd) :A Moorside Suite (trans.
Gennaro Greco (Napoli 1663 - 1714), Capriccio architettonico con figure at At Galleria Antiquaria Castelbarco Greco's mature work depicts imaginary ruins in a very carefully observed manner often set by a bay with highly detailed ships and other structures. This is clear in the Capriccio with figures among classical ruins and ships beyond. In this composition he created the illusion of depth by making the ruins lighter and lower contrast as they recede into the distance. The effect is emphasized by the fort and port structures in the distance which are painted in purpley blues.
A capriccio or caprice (sometimes plural: caprices, capri or, in Italian, capricci), is a piece of music, usually fairly free in form and of a lively character. The typical capriccio is one that is fast, intense, and often virtuosic in nature. The term has been applied in disparate ways, covering works using many different procedures and forms, as well as a wide variety of vocal and instrumental forces. The earliest occurrence of the term was in 1561 by Jacquet de Berchem and applied to a set of madrigals.
He was an art critic (published criticism to the works of Roman artists in the newspaper Il Capriccio) and was a collector of antique designs, which at his death, in 1834, were collected in the "Center Alessandro Maggiori".
After coming off an undefeated season, the corps emerged victorious with another undefeated season with Exotic Impressions including the Ravel's Boléro, Nicolai Rimsky-Korsakov's Capriccio Espagnol, Claude Debussy's Clair de Lune and Scheherazade, with a score of 97.238.
A third location followed, also in Stamford, at 189 Bedford Street, in the heart of the downtown bar district, now Capriccio Cafe. The restaurant in Port Chester is now owned by Carlos Magan and was renamed to simply "Hubba's".
Pyotr Ilyich Tchaikovsky, circa 1875; portrait by Charles Reutlinger The Capriccio Italien, Op. 45, is a fantasy for orchestra composed between January and May 1880 by Pyotr Ilyich Tchaikovsky. A typical performance of the piece lasts about 15 minutes.
His cornet solos remain popular with today's trumpeters and include Napoli (Variations on a Neapolitan Song), Fantasia No.1, La Coquette, Capriccio Brilliante, La Mandolinata, and Variations on the Carnival of Venice. On June 8, 1926, Bellstedt died in San Francisco.
The question of which is more important in opera – the music or the words – has been debated over time, and forms the basis of at least two operas, Richard Strauss's Capriccio and Antonio Salieri's Prima la musica e poi le parole.
Amongst other influences on the Capriccio, Stravinsky very much had in mind Carl Maria von Weber, whom he described as "a prince of music" . The three movements are played attacca (without interruption) and take just under twenty minutes to perform.
The piece is often lauded for its orchestration, which features a large percussion section and many special techniques and articulations, such as in the fourth movement when the violinists, violists, and cellists are asked to imitate guitars (the violin and viola parts are marked "quasi guitara"). Despite the critical praise, Rimsky-Korsakov was annoyed that the other aspects of the piece were being ignored. In his autobiography, he wrote: > The opinion formed by both critics and the public, that the Capriccio is a > magnificently orchestrated piece — is wrong. The Capriccio is a brilliant > composition for the orchestra.
Detail of 18th century oil on panel overmantel in Upcott Barton depicting a sporting country gentleman, with a capriccio scene Upcott later passed to the Basset familyLysons, Daniel & Lysons, Samuel, Magna Britannia, Vol.6, Devonshire, London, 1822, p.100 of Umberleigh, North Devon.
She thereafter continued to periodically perform in concerts of her husband's music, particularly lieder. Strauss credited her as his muse for many of his compositions, including the title role in Salome, the Countess Madeleine in Capriccio, and the Four Last Songs among others.
Also he composed symphonic works, such as the Suite (for Jaap van Zweden) and Capriccio for symphony orchestra and Combo commissioned by the Holland Festival '79. For decades the "Anthem Ceremony Protoculaire UCI" played during all cycling world championships was a composition by Tonny Eyk.
Gabriela Moyseowicz has composed a variety of atonal instrumental and vocal works3,7(8). They include piano-, violin- and cello-sonatas, piano concertos, one symphony, one oratorium, cantatas, songs, etc. Tonal compositions include church songs, a capriccio for string orchestra, piano variations and other occasional works.
Capriccio with a view of Mereworth Castle. Francesco Zuccarelli and Antonio Visentini, 1746. Mereworth Castle is a grade I listed Palladian country house in Mereworth, Kent, England. This source attributes the plasterwork to Francesco Bagutti, but Giovanni Bagutti would appear to be more likely.
John Stoddart (1937-2001) an Australian opera stage designer. Born in Sydney, he began his career as an architect. On his first British commission in 1967, he designed the stage for Anthony Besch's production of Così fan tutte at the Scottish Opera, where he continued to work. In 2000 he collaborated with John Cox to stage Capriccio at the Sydney Opera House during the 2000 Summer Olympics. Aside from Capriccio, with Opera Australia he has designed the sets for The Magic Flute, Ariadne auf Naxos, Patience, The Beggar’s Opera, Die Fledermaus, Les Huguenots, Don Carlos, A Streetcar Named Desire, Of Mice and Men, and Die tote Stadt.
In 1965 he won a Gramophone Award for his version of Rimsky-Korsakov's Capriccio Espagnol. In addition, he arranged and conducted many commercially successful albums on LP and later CD like Tropical Moonlight, Cuban Moonlight, Black Magic, and series of Film Spectacular and Broadway Spectacular for Decca.
Asturias is also the name of the fifth movement of the Suite Española, Op. 47 by Spanish composer Isaac Albéniz. Nevertheless, the music has little in common with the region's own folklore. More authentic is Rimsky Korsakov's Spanish Capriccio, which quotes liberally from Asturian musical heritage.
The manga was adapted into a live action film titled The Mole Song – Undercover Agent Reiji and directed by Takashi Miike that was released in Japan on February 15, 2014. Miike also directed a sequel, The Mole Song: Hong Kong Capriccio, which was released in 2016.
Trompe l'oeil with a painted canvas and print of a landscape capriccio Jacobus Plasschaert or Jacob Plasschaert, spelling variation of name Plasgaert (c. 1689 – Bruges, 21 November 1765) was a Flemish painter and teacher.Jean Luc Meulemeester, Jacob Plasschaert (ca. 1689-1765), een onbekende Brugse kunstschilder in: Vlaanderen.
Stolzius arrives, and the officers make insinuating remarks about Marie's relationship with Desportes. Tumult. Intermezzo Scene 2 (Capriccio, Corale e Ciacona II): Marie has received a reproachful letter from Stolzius. She is reading it in tears when Desportes enters. He scornfully dictates to her a brusque reply.
Wieter, the first to play bass and bass-buffo in the opera Der Friedenstag (1938), Capriccio (1942) by Richard Strauss as well as Der Mond (1939) by Carl Orff in Munich. Wieter was also a sought-after concert singer. Wieter died in Munich at age 92.
These views were followed in the 1730s by many capriccio landscapes. One of Van der Hagen's paintings, titled "Corke Harbour 1738", was auctioned in Cork on Wednesday, 11 February 2004. It obtained a price of €360,000. The painting is the oldest known surviving view of Cork Harbour.
It is modelled after Frescobaldi's piece based on the same idea, Capriccio sopra il cucho, but is more structurally and harmonically complex. The idea of repeating a particular theme in Kerll's music reaches its extreme in the Magnificat tertii toni, where a fugue subject consists of sixteen repeated E's.
Her discography includes Verdi Lieder with Capriccio Records in Vienna, Austria. In 2015 she was recognized by the WQXR Classical Radio Excellence in Opera Awards. In 2016, her performance in Bizet's Carmen, filmed in Sicily at the Teatro antico di Taormina, was featured at the Berlinale film festival.
Apart from a few songs, Winkler composed only instrumental music, notably compositions for piano and chamber music. He made piano transcriptions for a number of works by Mikhail Glinka, Alexander Glazunov and Rimsky- Korsakov including Capriccio Espagnol and the ballet Raymonda, as well as orchestral works by Alexander Scriabin.
A comparable chamber work for an even more unusual set of instruments, the Capriccio for piano left hand, flute, two trumpets, three trombones and tenor tuba, was written for pianist Otakar Hollmann, who lost the use of his right hand during World War I. After its première in Prague on 2 March 1928, the Capriccio gained considerable acclaim in the musical world. Other well known pieces by Janáček include the Sinfonietta, the Glagolitic Mass (the text written in Old Church Slavonic), and the rhapsody Taras Bulba. These pieces and the above-mentioned five late operas were all written in the last decade of Janáček's life. Janáček established a school of composition in Brno.
He wrote Rimsky-Korsakov that he considered Capriccio Espagnol "a colossal masterpiece of instrumentation" and called him "the greatest master of the present day".As quoted by Taruskin, 31. In his diary, Tchaikovsky confided, "Read [Rimsky-]Korsakov's Snow Maiden and marveled at his mastery and was even (ashamed to admit) envious".
Hotter made his debut in 1929. As a young singer he appeared in Verdi and created the Commandant in Richard Strauss's Friedenstag and Olivier in Capriccio. By the 1950s, however, he was being hailed as the top Wagnerian bass-baritone in the world. His Wotan was especially praised by critics for its musicianship.
Fengtai County () is a county in the north of Anhui Province, China. It is under the administration of Huainan city. Author Li Hengrui (), whose work "Kite Capriccio" () describes life as a child in the 1950s in Fengtai County is included in the Putonghua Proficiency Test.Putonghua Shuiping Ceshi Gangyao. 2004. Beijing. pp.350-351.
Capricho of London with the Port, the Bank of England, the Monument and Saint Paul's Cathedral Capriccio of the City of London is an early 18th century oil painting made by the Dutch Griffier family, who became well known in England. Jan Griffier and his children, Jan and Robert, created the landscape.
2 Franz Liszt: Fantasie und Fuge über das Thema B-A-C-H - Praeludium "Weinen, Klagen, Sorgen, Zagen" - Fréderéric Chopin: Ballade n. 1, op. 23 - Prelude op. 45 - Robert Schumann: Variationen über ein Thema von Ignaz Ferdinand Freiherr von Fricken - Ludwig van Beethoven: Praeludium - Sonata op. 110 [Cd + DVD LimenMusic CDVD024C024] Percorsi nel recital, Visioni oltre il repertorio, Vol. 1 Luigi Cherubini : Capriccio, ou Etude pour le fortepiano - Franz Joseph Haydn : Capriccio Hob. XVII/1 - Sonata in Fa minore Hob. XVII/6 (Andante con Variazioni – Variationenen über die Hymne 'Gott erhalte' [Cd + DVD LimenMusic CDVD012C012] Nächtliche Stimmen (Voci Notturne), Melodramen e Lieder- con Claudia Marie-Thérèse Hasslinger (mezzo-soprano e voce recitante). EMA Records 40012 Löffelholz-Lieder con il Baritono Leonardo Wolovsky.
Capriccio often takes existing structures and places them into re-imagined settings and characteristics. The paintings can be anything from re-imagining a building in the future as ruins, to placing a structure in a completely different setting than that in which it exists in reality. The subjects of capriccio paintings cannot be taken as an accurate depiction due to the fantastical nature of the genre. Architect David Mayernik cites 4 themes that are found in capricci: # Juxtaposing the subject in unfamiliar ways # Imagining different states of the subject, such as a building in the future that has been ruined or worn with time # Changing the size and scale of the subject # Taking liberties with grand features, such as cities, fountains, etc.
This is well demonstrated by the recently restored Caffi Moranedd at Cricieth and the now demolished Snowdon Summit Station of 1934, which was demolished in 2007."Haslam et al." (2009), 394–5. However, his more memorable creation in Wales is the capriccio town of Portmeirion on the coast of the Llyn near to Portmadoc.
Capriccio is a 1938 German historical comedy film directed by Karl Ritter and starring Lilian Harvey, Viktor Staal and Paul Kemp. The film is set in 18th century France, where a young woman enjoys a series of romantic adventures. The director, Ritter, was attempting to recreate the style of a René Clair comedy.Ascheid p.
He also conducted at the opera houses in Lille and Toulouse. His Paris debut was at the Opéra-Comique in Richard Strauss's Capriccio. He was director of the Opéra-Comique 1955–1959. He conducted at the Lyric Opera of Chicago 1959–1971. He was conductor, 1959, and music director 1970–1971, at the Paris Opéra.
Lang Lang & Herbie Hancock World Tour NeuFutur magazine. Retrieved 2009-12-02.Rhim: Sotta voce 2 Capriccio. performing in such venues as the Montreux Jazz Festival Arena di Verona, Royal Albert Hall, the Ruhr Piano Festival, Rotterdam North Sea Jazz, the Ravenna Festival, the Ravinia Festival, the Mann Center, Massey Hall, and the Hollywood Bowl.
Vicente Giner was born around 1636 in the town of Castéllon de la Plana, near Valencia. Here he studied painting and also became a Catholic priest.Vicente Giner, An Italianate Palace Interior with Carriages and Elegant Figures in: Raphael Valls, 2014 Recent Acquisitions, p. 14 A capriccio view of a palace with ruins and figures.
Some of the works currently best known as "Russian music" were first presented at the Russian Symphony Concerts. Rimsky-Korsakov finished his revision of Modest Mussorgsky's Night on Bald Mountain and conducted it at the opening concert.Rimsky-Korsakov, 281. He also wrote Scheherazade, Capriccio espagnol and the Russian Easter Festival Overture specifically for them.
Catalogo delle opere, il Settecento, Milano, 2000 pp. 60–66 The work is an architectural capriccio, with fictive architecture in the foreground and elements of real architecture from Rome such as the 'cordonata capitolina', the colossal statue of Castor, the Basilica di Santa Maria in Aracoeli, the Palazzo Nuovo and part of the Palazzo Senatorio.
The Capriccio is scored for solo piano, pairs of woodwinds (flutes doubling piccolo, oboes, clarinets doubling piccolo clarinet, and bassoons), cor anglais, four horns, three trombones, tuba, strings and timpani. In addition to the solo piano, there is a concertino group of soloists consisting of the first violinist, first violist, first cellist and first bassist.
He also sang on the Dresden Theatre Barge, the Opera Hall and at the Rheingau Music Festival in the cabaret program Greife wacker nach der Sünde. As a concert singer, Köhler worked with early music ensembles and conductors René Jacobs, Marcus Creed and Howard Arman. Köhler has released four solo CDs on the Capriccio and Berlin Classics labels.
Her performing career was shortened by arthritis, and she taught at the Juilliard School from 1943–50, at Catholic University from 1951–54 and at American University from 1955–72. In 1963, her Capriccio for Violin and Piano was the first work by an American woman composer to premiere at the White House. She died in Chichester, England.
Katz was born into a prosperous Jewish family"Photographs related to Martin Martins and family" The National Archives, Greater Manchester County Record Office. Retrieved November 2, 2011 in Posen,"Katz, Erich (1900 – 1973). Komponist, Musikwissenschaftler, Musikkritiker, Instrumentalist" Capriccio Forum für klassische Musik (December 10, 2009). Retrieved October, 29, 2011 then part of Prussia, now Poznań, Poland.
In addition, there are several single-movement works for soloist and orchestra. Those for piano are the Rondo Brillante of 1834, the Capriccio Brillante of 1832, and the Serenade and Allegro Giocoso of 1838. He also wrote two concertinos (Konzertstücke), Op. 113 and 114, originally for clarinet, basset horn and piano; Op. 113 was orchestrated by the composer.
Portrait of Nikolai Rimsky-Korsakov by Valentin Serov (1898) Rimsky-Korsakov followed the musical ideals espoused by The Five. He employed Orthodox liturgical themes in the Russian Easter Festival Overture, folk song in Capriccio Espagnol and orientalism in Scheherazade, possibly his best known work.Maes, 175–176. He proved a prolific composer but also a perpetually self- critical one.
This earned him the nickname 'Pseudo-Codazzi'.Ascanio Luciano, Palatial architecture with figures at Dorotheum There was a difference with Codazzi in that Luciano's works were more narrative and less dramatic.Ascanio Luciani, Capriccio architettonico con figure at Wannenes Group Luciano was less concerned with accurate architectural rendering, in the tradition of quadratura. His interest lay in creating colorful effects.
Individual variations unfold, taking up characters of song, dance, capriccio and march. By the end, the ground bass is reduced to chant-like reminiscences; the orchestra leaves hints of an unmistakable D major chord, while the soloist is left undecided in a trill between the notes F-natural and G flat.Paul Kildea, ed. (2008). Britten on Music, p. 365.
513 on Google books Not much of his career is known. His last known dated work is dated to 1731 (Auctioned by Sotheby's on 12 February 2008, London, lot 124).Jan Baptist van der Straeten, Capriccio of a palace exterior with figures conversing in the foreground at Sotheby's The date and place of his death are not known.
He became a close friend of Strauss, and even wrote the libretto for his opera Capriccio which he premiered in Munich in 1942. He also conducted the premieres of Strauss's operas Friedenstag and Die Liebe der Danae. During the early 1940s, he taught at the Mozarteum University of Salzburg where among his pupils was composer Roman Toi.
According to the record of his death in the minutes of the French Académie, van Beecq was born in Amsterdam in 1638. His earliest dated work, a capriccio view of Antwerp was painted in 1673. His paintings usually depict warships and battles out at sea, or scenes of harbours with palatial classical buildings standing directly on the waterfront.
Willi Burger (Milano, 1934) is an Italian harmonica player. He won a world championship of chromatic harmonica in 1955 in a competition of Fédération Internationale de l'Harmonica, and he is considered one of the renowned classical harmonica players. He has recorded albums with accompaniment of pianoforte (Marcello Parolini), classical guitar (J.E. Alvarez), string quintet (Capriccio Harmonico Ensemble).
Puente de Capriccio was initiated by Spanisg franciscan priest Victoriano del Moral. But the priest was cruel and autocratic, anyone who do not labor in the construction would be later punish by whipping the buttocks. The workers were reportedly not paid a single centavo. Because of his cruelty, the workers campaigned against him, thus, the bridge's construction never resumed since 1851.
SBS is the abbreviation of "SSHS broadcasting system." SBS members control microphones, adjust the lights, and prepare sound effects at every special event done in the school auditorium. SBS members receive capriccio requests from students, and choose 10-12 songs each week. Also, it is famous for the fact that its history is longer than the Korean broadcasting company SBS.
In the last several minutes of the capriccio, which is around a total of 20 minutes, the orchestra rebuilds to several loud and powerful themes. The idea of a gypsy's pleasures in life is shown with the wondrous and lively ending sequence. After a short and powerful respite in B minor, the composition ends in a blaring E major chord.
Capriccio, Op. 85, is the final opera by German composer Richard Strauss, subtitled "A Conversation Piece for Music". The opera received its premiere performance at the Nationaltheater München on 28 October 1942. Clemens Krauss and Strauss wrote the German libretto. However, the genesis of the libretto came from Stefan Zweig in the 1930s, and Joseph Gregor further developed the idea several years later.
They visit Michel's childhood home in the French countryside, and end their relationship amicably several weeks later. Capriccio: Several years later, Oliver works as a professor at a college in New Hampshire. He is married with children, but harbors nostalgia for the time he spent with Elio as a college student. He reunites with Elio in Italy, and they reconnect romantically.
A triple stop is the same technique applied to three strings; a quadruple stop applies to four strings. Double, triple, and quadruple stopping are collectively known as multiple stopping. Early extensive examples of the double-stop and string chords appear in Carlo Farina's Capriccio Stravagante from 1627, and in certain of the sonatas of Biagio Marini's Op. 8 of 1629.
It is used to begin a day's celebrations, and is played at sunrise. Russian composer Nikolai Rimsky-Korsakov included three asturian movements (two Alboradas and one Fandango Asturiano) in his famous orchestral work Capriccio espagnol, Op. 34, written in 1887. The foliada is a joyful 3/4 jota-type song, often played at romerías (community gatherings at a local shrine).
218–221 (2002). The slow movement's "Capriccio" marking is used only one other time in Haydn's symphonic output; in the finale of the "A" version of the 53rd symphony. The sonata-form finale is characterized by themes contain the rhythmic motif of five eighth-notes leading into the next bar. In most cases, these five notes are also repeated and staccato.
Kirsten MacKinnon is a Canadian operatic soprano. A winner of the Metropolitan Opera National Council Auditions in 2017, she has appeared internationally. She grew up in Vancouver, and studied voice at the Curtis Institute of Music in Philadelphia. At the Philadelphia Opera, she performed the roles of Micaëla in Bizet's Carmen and the Countess Madeleine in Capriccio by Richard Strauss.
Having written only one unperformed cello work to date, Ligeti offered to expand the Dialogo into a "two-movement short sonata," adding a virtuosic Capriccio movement.Paul, 5. With the country now a part of the Eastern Bloc, Ligeti was required to subject all his compositions to the scrutiny of the Communist-controlled Composers’ Union, at the risk of losing his job.Steinitz, 52.
In 1990 the German record label Capriccio released the world premiere recording: a June 1987 recording from Danish Radio with Hans Graf conducting the Danish National Radio Symphony Orchestra and Chorus. The principal roles were sung by Eva Johansson (Princess), Kurt Westi (Prince), Per-Arne Wahlgren (Kaspar) and Aage Haugland (King). This performance was the first one since the Prague staging of 1912.
The "Capriccio in G major on the folksong 'Acht Sauschneider müssen sein'", Hoarb. XVII:1 (1765), is an example of an Austrian folk tune seen in Haydn's music. This work is a theme and variations on a children's song; for lyrics and discussion see this link. In addition, much of Haydn's dance music is claimed to be based on Austrian folk models.
In the view of Grove, Kleiber was: Among the honours awarded to Kleiber were Commandeur Ordre de Léopold, Belgium; Commendatore della Corona d’ Italia; Orden el Sol de Peru; and Comendador del Merito, Chile. Kleiber was a composer; among his works are a Violin Concerto, Piano Concerto, orchestral variations, Capriccio for Orchestra, numerous chamber music works, piano pieces, and songs.
267 and Don Carlo in 1884. Faccio helped to launch Puccini's career, conducting his graduation piece from the Milan Conservatory, Capriccio sinfonico, in 1884. When Victor Maurel was planning to revive the Théâtre-Italien company at the Théâtre des Nations in Paris in 1883, it was hoped that Faccio would be chief conductor. He was hoping for not less than 100,000 francs.
RTL 102.5 originated in Bergamo in 1975 as ("Lombardy Radio Broadcasting"). Lorenzo Suraci, the current president, took it over in 1988 to advertise his Capriccio discothèque in Arcene, near Bergamo. Rapidly RTL's signal was extended in the whole North of Italy. Then, Suraci tested the national isofrequency to make RTL receivable in the whole of Italy on the same frequency, 102.5 MHz.
300px Capriccio with the Campidoglio is a c.1742 oil on canvas painting by Bernardo Bellotto. It was acquired by count Stefano Sanvitale di Parma in 1835 and then exhibited in the Galleria nazionale di Parma, where it now hangs alongside another painting originally produced as its pendant. Rossella Cattani, Scheda dell'opera; in Lucia Fornari Schianchi (a cura di) Galleria Nazionale di Parma.
Bacon identifies eight elements of 'Involvement' in Architecture and Urban Design. To identify these elements, Bacon utilizes Francesco Guardi's painting Architectural Capriccio. Describing these elements as functions of design, he argues the urban designer should be aware of these elements and use them as tools when developing a 'design idea' of what the city or place ought to look like.
"Vent'anni" is a 1970 Italian song composed by Giancarlo Bigazzi, Enrico Polito and Totò Savio and performed by Massimo Ranieri. The song won the eighth edition of Canzonissima, beating Gianni Morandi's "Capriccio" and establishing Ranieri as the new favorite of the Italian younger audience. The song also got an immediate commercial success, with the single ranking #1 on the Italian hit parade.
Among her other outstanding roles was the voice of the falcon in Strauss' Die Frau ohne Schatten,Judith Hellwig on Capriccio Kultur Forum conducted by Karl Böhm in 1955. She was also Judith, very expressive despite the Hungarian diction efforts she had to make for the role, in Bartók's Bluebeard's Castle. Hellwig died on 25 January 1993 in Vienna at age 86.
When artists were commissioned to create a painting of an architectural piece, they were not necessarily concerned with accurate representation of a building. Rather, they could be freer in terms of interpretation and artistic license. This allowed the artist to add decorations or other architectural features at their own discretion. This artistic freedom in capriccio allows continual transformation of a building.
Franz Liszt wrote a piano transcription in 1846, "Capriccio alla turca sur des motifs de Beethoven" (S. 388). Franz Liszt also wrote a version for orchestra and piano in 1837 entitled "Fantasie über Motiven aus Beethovens Ruinen von Athen" (s.121i). Anton Rubinstein arranged a popular piano version of the march in B major, tempo Allegretto. Sergei Rachmaninoff further arranged Rubinstein's version, heard on piano roll (1928).
Troy did not leave many recordings. He is a member of a prestigious cast on an EMI recording of Richard Strauss' Capriccio and in the 1957 recording of a live performance of Les Troyens by Berlioz. He also recorded Mozart's Zaide. Of Irish music, he recorded selections of Thomas Moore's Irish Melodies and a small number of songs by John F. Larchet and Aloys Fleischmann.
In his Symphonie fantastique (1830), he added a counter-melody for a solo cornet in the second movement (Un Bal). Cornets continued to be used, particularly in French compositions, well after the valve trumpet was common. They blended well with other instruments, and were held to be better suited to certain types of melody. Tchaikovsky used them effectively this way in his Capriccio Italien (1880).
A member of Russia's Violin Makers Union, of the Spanish Association on Professional Violin and Bow Makers, of the European Association of Violin Makers and of the International Artistic Union of Violin and Bow Makers. Alexander Rukin – an Honoured Artist of the Russian Federation, a violinist, a laureate of international competitions of the "Capriccio Ensemble", a professor of the Rachmaninoff State Conservatory of Rostov.
Bottone's appearances at the Royal Opera House, Covent Garden include: Der Rosenkavalier (Italian Singer); Die Fledermaus (Alfred); Les Huguenots (Raoul); Otello (Cassio); Il viaggio a Reims (Count Libenskof); Capriccio (Italian Singer); Sweeney Todd (Pirelli), L'heure espagnole (Torquemade), La fanciulla del West (Nick), Adriana Lecouvreur (Abbé de Chazeuil) and Le Nozze di Figaro (Don Basilio). He also took part in Dame Joan Sutherland's farewell appearance at Covent Garden.
After completing her degree she remained at Juilliard for one more year to pursue post-graduate studies in opera. In April 1954 she appeared as Countess Madeleine in the U.S. premiere run of Richard Strauss' Capriccio with the Juilliard Opera. She later studied singing in Milan with Victor de Sabata. Several competition wins drew attention to Davy while she was still a student at Juilliard.
Architectural capriccio with a pond The next record on the artist relates to his marriage with Maria von Risman in Vienna in 1694. He is known to have been active in Vienna for a number of years prior to his marriage. He lived in the Leopoldstadt district of Vienna. He seems to have kept in touch with members of the Flemish community in Vienna.
Ryoanji Robert Black came to serious composition very late in his life. His works were particularly influenced by Charles Wuorinen and Ralph Shapey, and include Underground Judges, Three Pieces for Violin and Piano, later reworked as the orchestral work Capriccio (Blown Apart), and Earth Fire, for viola and piano.Mid-Hudson Library System His sole piece for solo piano was Foramen Habet!, dedicated to Beveridge Webster.
Having graduated from the Conservatoire de Paris, she gave her first known concert as pianist in the Kurhaus in Scheveningen in 1896. At 17 years of age, she played the Hungarian Rhapsody no. 11 by Franz Liszt and the Capriccio Brillant by Felix Mendelssohn, accompanied by a Philharmonic Orchestra under the direction of Frans Mannstädt. Her future husband, Jacques van Lier, played 2nd cello that afternoon.
Leehom Wang and Jay Chou were interviewed and asked to comment on each other. Chou also performed a medley piano battle with Nan Quan Mama group member Yuhao Zhan. The medley included segments from Prelude and Fugue No. 2 in C minor in Book 1 of Bach's Well-Tempered Clavier, a capriccio of Chou's song "Reverse Scales" (), and the theme song of Super Mario Bros.
Piston composed his Fourth Symphony on commission from the University of Minnesota to mark the centennial of the university's foundation in the following year. The symphony was first performed by the Minneapolis Symphony Orchestra under Antal Doráti on 30 March 1951.Steven Lowe, Liner notes to Walter Piston: Symphony No. 4, Capriccio for Harp and String Orchestra, Three New England Sketches. Seattle Symphony Orchestra; Gerard Schwarz, conductor.
The scoring of the concerto is distinctive. In addition to the standard strings and harp, Strauss divides the string sections into "Soli" (the lead player for each of the five sections) and "tutti" (the body of players) in the manner of the baroque concerto grosso. The opening bars feature the five solo players augmented by a second viola, reminiscent of the sextet which opens his opera Capriccio.
He often depicted ancient ruins in a nocturnal, mysterious sphere. An example is the Capriccio with figures among classical ruins and ships beyond (at Hampel auction of 10 December 2015 lot 297). In this painting, the arch in the middle of the picture as well as the temple complex with ionic columns are illuminated by moonlight. The light source is covered by protruding tree tops.
There are twenty-four pieces: ballettos, allemandas, gigas, correntes, sarabandas and a rare example of a zoppa. In Balletti, correnti e capricci per camera, Opus 8 (1683), Vitali returns to a relatively simple arrangement of paired balletti and correnti with the addition of one giga and two final movements entitled Capriccio. Each pair of balletto and corrente shares both a key and thematic material.
Bach Digital Work at Bach Digital websiteMaria Zadori, Kai Wessel, David Cordier, Wilfried Jochens, Hans-Georg Wimmer, Stephan Schreckenberger, Harry van der Kamp, Rheinische Kantorei, Das Kleine Konzert and Hermann Max (conductor) Missa Brevis "Allein Gott in der Höh sei Ehr". Capriccio, 2004 This characteristic sets BWV 10 apart from Bach's other chorale cantatas, which as a rule contained quotes from Lutheran hymns, not from biblical prose.
Conductor JoAnn Falletta says: > We are hearing foreigners' views of Italy. . . . [however,] Capriccio > Italien has great power, even though it's practically a pops piece, > Tchaikovsky knows what the instruments can do in a virtuoso way. He brings > them to their limit in the most thrilling fashion. He has a gift for mixing > families of instruments just right – like cantabile strings along with > mighty brass.
She sang several more roles with the NYCO, including Clairon in Capriccio, Frau von Luber in Der Silbersee, Katisha in The Mikado, Mme. Armfeldt in A Little Night Music, Mother in Louise, Mrs. Lovett in Sweeney Todd, and Suzuki in Madama Butterfly. In 1979 she created the role of Grace-Helen Broome in the world premiere of Dominick Argento's Miss Havisham's Fire with the NYCO.
As a result of this meeting, he wrote his Fantasia for Guitar and Piano (1957), which he dedicated to her. In 1963, his Capriccio for flute and guitar was written for the duo Werner Tripp and Konrad Ragossnig (released on RCA Victor 440.182). Also, Haug composed a Concerto for flute, guitar and orchestra in 1966, and he used the guitar in some other works.
AEdis antiquae, AEdificiorumque adiacentium fragmenta, 1771, etching with engraving Pietro Gaspari (1720–1785) was an Italian artist, known for veduta and capriccio in etchings and paintings. Some of them resemble a more barren and finely detailed Piranesi. He worked for many years in Munich, GermanyCatalogo delle RR. Gallerie di Venezia, by Regia accademia di belle arti di Venezia, page 259. He was active mainly in Venice.
Maurice Ravel wrote two pianos concertos, one in G-major (1931) and the second for the left hand in D-major (date of creation1932). Igor Stravinsky wrote three works for solo piano and orchestra: Concerto for Piano and Wind Instruments, Capriccio for Piano and Orchestra, and Movements for Piano and Orchestra. Sergei Prokofiev, another Russian composer, wrote five piano concertos, which he himself performed. Dmitri Shostakovich composed two.
The Whites Only Scholarship was founded in 2004 by Jason Mattera, a Hispanic Roger Williams University student and member of the school Republican Party. The scholarship was a proposal to parody and highlight what Mattera perceives as inequity and unfairness of racial preferences at his school and other educational institutions in America. While a parody, it was still executed. The winner, architecture major Tony Capriccio, was awarded a cash award.
Min Huifen (; 1945 – 12 May 2014) was a performer of the erhu, a traditional Chinese bowed string instrument, and a composer. She was considered the undisputed master of the instrument, nicknamed the "Queen of Erhu". She composed some of her own hits, including "Yangguan Melody – Three Variations" and "Wishes of the People of Honghu Lake." Her most famous piece was the Great Wall Capriccio, composed by Liu Wenjin with her assistance.
Min Huifen released 15 albums during her career. Her music is a unique blend of multiple genres of traditional Chinese music, including the Peking opera, the Yue opera, and the music of Chaozhou. She composed several of her hit singles herself, including "Yangguan Melody – Three Variations" and "Wishes of the People of Honghu Lake." Her most famous performance was the Great Wall Capriccio, composed by Liu Wenjin with Min's assistance.
She was awarded the title of an Austrian Kammersängerin in 1934, a Prussian Kammersängerin in 1935. She gave her farewell in 1953 in Wiesbaden in Der Rosenkavalier. She was appointed professor at the Salzburg Mozarteum in 1964. The soprano recorded for Deutsche Grammophon in 1933, 1936, and 1943, with excerpts from Arabella, Le nozze di Figaro, Tosca, Turandot, Der Rosenkavalier, Il trovatore, and Capriccio, as well as two Lieder of Strauss.
In 1704, he entered the service in the military band of the army of King Charles XII of Sweden. It is thought that Johann Sebastian Bach wrote his Capriccio on the departure of his Beloved Brother BWV 992 on this occasion.1704 in musicNoted as one of a handful of J. S. Bach's humorous pieces in H. C. Schonberg. In 1709, he participated in the Battle of Poltava.
Totenberg toured South America with Artur Rubinstein in 1937, and gave joint recitals with Karol Szymanowski. He gave many concerts comprising the complete cycle of Beethoven sonatas and all Bach Brandenburg concertos. His diversified repertoire included more than thirty concerti. Among the many contemporary works he introduced are the Darius Milhaud Violin Concerto No. 2, the William Schuman Concerto in its final version, 1959, and the Krzysztof Penderecki Capriccio.
She sang Carmen there in December of the same year. This was the start of a 34-year relationship. Sieglinde Wagner had a very wide repertoire, including Clairon in Richard Strauss's Capriccio, Annina in Der Rosenkavalier, Magdalena in Die Meistersinger von Nürnberg, Fenena in Nabucco, the mother in Hansel and Gretel and Mary in The Flying Dutchman. In 1963, she was awarded the title of Kammersänger by the senate of Berlin.
The manga is written and illustrated by Mai Nishikata, and published by Hakusensha in the Japanese semi-monthly shōjo manga magazine, Hana to Yume between 2006 and 2008. The 29 chapters have been collected in five tankōbon volumes. In English, Venus Capriccio is licensed by CMX who published the first volume in 2009. With the imprint's impending shutdown, CMX will only publish up to the fourth volume of the series.
An Architectural Capriccio with a Bacchanalian Procession by Filippo Gagliardi and Giovanni Benedetto Castiglione Castiglione was born in Genoa. His early training is unclear. He may have studied with Sinibaldo Scorza. Wittkower describes him as a "passionate student" of Anthony van Dyck, who arrived in 1621, and Peter Paul Rubens, who stayed in the city in the first decade of the 17th century and whose paintings were readily accessible there.
The score was first used as ballet music when Léonide Massine choreographed it in 1947 for the Teatro alla Scala, Milan. The décor for this production was by Nicola Benois. A second production was created in 1957 with choreography, décor, and costumes by Alan Carter . The original 1929 version of the Capriccio was used by George Balanchine as the score for the "Rubies" section of his full-length 1967 ballet Jewels .
The repertoire of the choir includes compositions from the early Baroque (Heinrich Schütz, Johann Sebastian Bach), the early 19th century and modern work. Several recordings are available from Berlin Classics, Deutsche Grammophon and Capriccio. The choir often performs with the Sächsische Staatskapelle Dresden and the Dresden Philharmonic Orchestra. The choir sings Vespers almost every Saturday at 5 pm and on Sunday at 9:30 am in the Church Service.
According to art historian David R. Marshall, recreated or inspired paintings that are far removed from the original bear no obvious connection. This further allowed artists to take liberty with architectural renditions. Capriccio is thought to be a form of art that appeals to the aesthetics of the viewer by taking liberty with extravagance that eventually turned into art that was intentionally fantastical in regards to the original architectural piece.
Schicht continued to work in Leipzig, serving as Thomaskantor, director of the Thomanerchor with responsibility for music in the city's churches. He was in post from 1810 until 1823, when he died, aged 69, in Leipzig. His most important work is a great choirbook from 1819. Besides that, he wrote masses, motets, cantatas, a setting of the 100th Psalm, four Te deums, one piano concerto, sonatas and capriccio.
Anderson continues to claim new territory as well, with debut performances in Donizetti's Anna Bolena (Pittsburgh 2000) and Le convenienze ed inconvenienze teatrali (Monte Carlo 2004), The Bassarids by Hans Werner Henze (Théâtre du Châtelet, 2005), Rossini's Il viaggio a Reims (Monte Carlo 2005), and the Richard Strauss operas Capriccio (Naples 2002) and Daphne (La Fenice 2005). Of her debut in Daphne a reviewer in Opera magazine wrote: > The performance seemed to me an absolute triumph for June Anderson. At a > career stage where she could reasonably be expected to scale down effort, > ambition and new projects, she has instead taken the admirable decision to > continue expanding her artistic range - as this first-ever Daphne (follow-up > to her recent first ever Capriccio Countess) demonstrated.... [T]he singing > offered countless ravishments: crystalline timbre, clean-cut line- > delineation, dead-on-target intonation, awesomely easy projection of one > perilously exposed high phrase after another.Max Loppert, Opera, November > 2005.
The predecessor of this type of decorative architectural paintings can be found in 16th-century Italian painting, and in particular in the architectural settings that were painted as the framework of large-scale frescoes and ceiling decorations known as 'quadratture'. These architectural elements gained prominence in 17th- century painting to become stand-alone subjects of easel paintings.Alessandro Salucci (Florence 1590–1655/60 Rome) and Jan Miel (Beveren-Waes 1599–1664 Turin), An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay at Christie's Capriccio, by Alessandro Salucci Early practitioners of the genre who made the genre popular in mid-17th century Rome included Alessandro Salucci and Viviano Codazzi. These artists represent two different approaches to the genre: Codazzi's capricci were more realistic than those of Salucci who showed more creativity and liberty in his approach by rearranging Roman monuments to fit his compositional objectives.
Puccini wrote an orchestral piece called the Capriccio sinfonico as a thesis composition for the Milan Conservatory. Puccini's teachers Ponchielli and Bazzini were impressed by the work, and it was performed at a student concert at the conservatory on 14 July 1883, conducted by Franco Faccio. Puccini's work was favorably reviewed in the Milanese publication Perseveranza, and thus Puccini began to build a reputation as a young composer of promise in Milanese music circles.
The Capriccio Suite was first performed by Ahlgrimm in 1946 and was later published by Edition Schott. From 1945 to 1949 and from 1964 to 1984, Isolde Ahlgrimm was Professor of Harpsichord at the Vienna Academy (later known as University of Music and Performing Arts). From 1958 to 1962, she taught at the Mozarteum Salzburg. She served on the juries of many European harpsichord competitions, including those at Bruges, Rome, Geneva and Leipzig.
Gilbert Chase, The Music of Spain (New York: W.W. Norton 1941; rev.ed., New York: Dover 1959) at 289-304, "The Spell of Spanish Music". Gilbert discusses Falla at 182-197. Included would be Glinka, Bizet, Rimsky-Korsakov, Debussy, Ravel, and Stravinsky.A list of composers and works: Mikhail Glinka (Jota Aragonesa, 1845), Georges Bizet (Carmen, 1875), Nikolai Rimsky-Korsakov (Capriccio Espagnol, 1887), Claude Debussy (Ibéria, 1905-1908), Maurice Ravel (Rapsodie espagnole, 1907, and Boléro, 1928).
Massine appeared in two feature-length films by the British directors Michael Powell and Emeric Pressburger: The Red Shoes (1948) and The Tales of Hoffmann (1951). He also had a cameo appearance in Powell's later film Honeymoon (1959). Massine starred in several films of ballet short subjects. For Warner Brothers, he starred with the Ballet Russe de Monte Carlo in a short Technicolor film of his ballet Capriccio Espagnol, entitled Spanish Fiesta (1942).
The orchestra's first recording was for the L'Oiseau-Lyre label at Conway Hall on 25 March 1961. It has since accumulated an extensive discography, and is one of the most recorded chamber orchestras in the world, with over 500 sessions. Other labels the orchestra has recorded for include Argo, Capriccio, Chandos, Decca, EMI, Hänssler, Hyperion, and Philips. Earlier recordings by the ASMF from the old Philips label have been reissued on Pentatone.
He often painted lively horses similar to Wouwermans. Although no evidence exists that he visited Italy, his imaginary landscapes are in the Italianate style and often depict classical ruins. They typically include a great number of figures engaged in a variety of activities. A good example is the Italianizing Capriccio with Market Scene showing a large number of people engaged in trade and in play, enjoying themselves in the tavern or herding their flock.
Wilkinson advanced to the position of soloists in her second season with Ballet Russe and remained with the group for six years. She performed with the company across the U.S., routinely dancing the waltz solo in Les Sylphides.Rivka Galchen, "An Unlikely Ballerina", The New Yorker, September 22, 2014. Her repertoire also included roles in Ballet Imperial, Le Beau Danube, Capriccio Espagnol, Gaite Parisienne, Giselle, Graduation Ball, Harlequinade, Swan Lake, and Variations Classiques.
Alla ingharese quasi un Capriccio score, 1794-1795, musical autograph The "'" in G major, Op. 129 (Italian for "Rondo in the Hungarian [i.e. gypsy] style, almost a caprice"), is a piano rondo by Ludwig van Beethoven. It is better known by the title Rage Over a Lost Penny, Vented in a Caprice' (from ). This title appears on the autograph manuscript, but not in Beethoven's hand, and has been attributed to his friend Anton Schindler.
Andy Cummings, Drew Cunningham, and Curt Matthew Demaris. Cunanan first met fashion designer Gianni Versace in San Francisco in October 1990, when Versace was in town to be feted for the costumes he had designed for the San Francisco Opera production of Richard Strauss's opera Capriccio. Versace's family has always denied that the two men ever met. In December 1995, Cunanan met David Madson, a Minneapolis architect, in a San Francisco bar.
Further guest performances led her to the Teatro San Carlo (1952), at La Fenice in Venice, to Amsterdam, Zurich (1955 as Clairon in Capriccio), Barcelona, Dublin, and Geneva. In 1958 she gave a guest performance in Ariadne auf Naxos at the Holland Festival. From 1959 to 1968, she belonged to the ensemble of the Cologne Opera. On 23 November 1959, she took part in the world premiere of Nicolas Nabokov's Rasputin's End.
It is just that he is not great enough." Blitzstein's Marxist position was that Stravinsky's wish to "divorce music from other streams of life", which is "symptomatic of an escape from reality", resulted in a "loss of stamina", naming specifically Apollo, the Capriccio, and Le Baiser de la fée. The composer Constant Lambert described pieces such as L'Histoire du soldat as containing "essentially cold-blooded abstraction". Lambert continued, "melodic fragments in are completely meaningless themselves.
The work is in four movements: #Largo maestoso - Vivace #Andante #Menuetto & trio #Finale. Version A: Capriccio: Moderato (Version B: Presto) The second movement is in double variation form beginning and ending in A major with the second theme in A minor. There are actually two other versions of the Finale. Haydn took the overture to an unknown opera which began in C major, and truncated the last dozen measures so as to conclude in D major.
He also appeared at the Volksoper Wien and at major opera houses worldwide. He performed at the Salzburg Festival from 1953 and made his debut at the Metropolitan Opera in 1959. Czerwenka sang 75 operatic parts, including his signature role Ochs auf Lerchenau in Der Rosenkavalier by Richard Strauss. Other notable roles were Osmin in Mozart's Die Entführung aus dem Serail, Kezal in Smetana's Die verkaufte Braut, Graf Waldner in Arabella, and La Roche in Capriccio.
The novel is split into four sections: Tempo, Cadenza, Capriccio, and Da Capo. Each of the sections focus on a different character's point of view, and this is not stated explicitly. The sections vary in length, with Tempo being the longest at almost half the book and Da Capo the shortest. Tempo: Ten years after the events of Call Me By Your Name, Sami Perlman meets a younger woman named Miranda while traveling by train to Rome.
From 1960, he performed at the Salzburg Festival, first as Cassandro in Mozart's La finta semplice, then from 1970 as Pizarro in Beethoven's Fidelio. He had a guest contract with the Hamburg State Opera from 1973. At the Vienna State Opera, he appeared as the Komtur (Commendatore) in Mozart's Don Giovanni, as Pizarro, as La Roche in Capriccio by Richard Strauss and as Jochanaan in Salome, among others. Mazura appeared at the Bayreuth Festival from 1971 for 25 years.
Soulima Stravinsky was born in Lausanne, Switzerland, in 1910, the second son and third child of Igor Stravinsky and Katherine Nossenko, and the grandson of Fyodor Stravinsky. He studied piano with Isidor Philipp as well as theory and composition with Nadia Boulanger. He appeared in Paris in 1934 playing his father's Concerto for Piano and Winds, Capriccio for Piano and Orchestra and the Concerto for Two Pianos. He recorded these works with his father in 1938.
Bottone has also sung with: Welsh National Opera, where his roles have included Turridu (Cavalleria rusticana) and Le comte Ory; Opera North, where his roles have included Vana (Katya Kabanova), Pedrillo (Die Entführung aus dem Serail) and Nemorino (L'elisir d'amore); and Scottish Opera, where his roles have included Jack (The Midsummer Marriage), Narraboth (Salome) and Loge (Das Rheingold). For Glyndebourne Festival Opera, he has sung Alfred (Die Fledermaus), the Italian Tenor (Capriccio) and Tzar Berendey (The Snow Maiden).
In music, exoticism is a genre in which the rhythms, melodies, or instrumentation are designed to evoke the atmosphere of far-off lands or ancient times (e.g., Ravel's Daphnis et Chloé and Tzigane for Violin and Orchestra, Debussy's Syrinx for Flute Solo or Rimsky-Korsakov's Capriccio espagnol). Like orientalist subjects in 19th-century painting, exoticism in the decorative arts and interior decoration was associated with fantasies of opulence. Exoticism, by one definition, is "the charm of the unfamiliar".
Her last teacher was Rostropovich since 2003. As of 2005 Leticia Moreno was playing a 1679 Pietro Guarneri violin, which was the property of the Stradivari Society of Chicago. She has programmed concerts all around the world: Austria, England, St. Petersburg, Moscow, Italy, Poland, South America, Mexico and Spain, and with orchestras including the Chicago Symphony Orchestra and Vienna Symphony Orchestra. The Spanish Composer Francisco Lara has dedicated one composition to her: Capriccio for Leticia (2005).
Opening themes of the Sultan and Scheherazade Program music came naturally to Rimsky-Korsakov. To him, "even a folk theme has a program of sorts."Frolova-Walker, New Grove (2001), 21:409. He composed the majority of his orchestral works in this genre at two periods of his career—at the beginning, with Sadko and Antar (also known as his Second Symphony, Op. 9), and in the 1880s, with Scheherazade, Capriccio Espagnol and the Russian Easter Overture.
Capriccio of the Capitol'. "Bellotto's urban scenes have the same carefully drawn realism as his uncle's Venetian views but are marked by heavy shadows and are darker and colder in tone and colour." When King August III of Poland, also an Elector of Saxony, who usually lived in Dresden, died in 1763, Bellotto's work became less important in Dresden. As a consequence, he left Dresden to seek employment in Saint Petersburg at the court of Catherine II of Russia.
While the composer did not consider it a symphony he stated that each of the three movements did conform to symphonic development and indicated that each movement represented his impressions of that aspect of the New England region. It was first performed on October 23, 1959, by the Detroit Symphony Orchestra under Paul Paray.Steven Lowe, Liner notes to Walter Piston: Symphony No. 4, Capriccio for Harp and String Orchestra, Three New England Sketches. Seattle Symphony Orchestra; Gerard Schwarz, conductor.
About forty compositions, mostly smaller works like songs, pieces for male choir and a few piano compositions, have been preserved. The biggest of these compositions, is the Scherzo Capriccio for piano solo, given the opus number 3, published posthumously by Edvard Grieg. This is a kind of rondo, using several features from Norwegian folk music; rhythms typical in slåtter, and dissonances typical for the hardingfele. However, the thematic material does not have this connection with folk music.
He has recorded over 100 works for many labels including Ariola Records, BIS Records, Capriccio, Christophorus, Columbia Records, Deutsche Grammophon, EMI, Erato Records, HCC (Haas-Classic Cologne), Hungaroton, Musikproduktion Dabringhaus und Grimm, Naxos Records, Nonesuch Records, Oryx, Tudor, and Vox Records. Tarr's wife was the concert organist and best-selling author . Amongst his students were Reinhold Friedrich and Håkan Hardenberger. Tarr died on March 24, 2020, in a hospital near Rheinfelden, the town where lived in southwestern Germany.
In Paris, he made his living by demonstrating Duport pianos, and he also lived in Duport's household. After completing his studies, he returned to Germany. In Stuttgart, he made the acquaintance of Frédéric Chopin after hearing him perform his Piano Concerto No. 1 in E minor. Schuncke dedicated his Capriccio in C minor, Op.10, to Chopin. He then moved to Vienna, Prague and Dresden, appearing in concert,Grove's Dictionary of Music and Musicians, 5th ed.
Little documentary evidence survives for the life of Pieter Stevens.Pieter Stevens at Christie’s He was likely born in Mechelen somewhere between 1557 and 1577. There is no information as to whether he was related to Pieter Stevens I, a draughtsman active between 1550 and 1570. A Capriccio View of a City (possibly Prague) A group of Roman views dated to 1590–91 has been interpreted as an indication that he visited Italy as a young man.
Swedish trumpeter Håkan Hardenberger has premiered several of his works on cornet, including his Cornet Concerto, Canto, and Capriccio. He has written arrangements such as The Carnival of Venice Variations for brass ensemble and Modest Mussorgsky's Pictures at an Exhibition arranged for brass band. Composer Roy Newsome remarks that "Howarth's masterly rendition of Mussorgsky's Pictures at an Exhibition (1979) dwarfed all previous transcriptions." He was brought up in a brass band family and has maintained his interest in the art form.
It is responsible for several Canadian premieres, including Marc Blitzstein's Regina in 2008, Richard Strauss's Daphne in 2007 and Capriccio in 2010, Lee Hoiby's The Tempest in 2004, and Vittorio Giannini's Taming of the Shrew in 2001. In February 2000, Pacific Opera staged the world-premiere of Erewhon,Canadian Press NewsWire. "Pacific Opera Victoria has taken a bold risk by commissioning Erewhon, a peculiar yet entertaining opera." Toronto, 21 Feb 2000 the company's first fully produced mainstage commissioned Canadian work.
Bonaventura Bottone made his professional debut as Count Almaviva in The Barber of Seville with Welsh National Opera in 1973. He subsequently sang Arturo in Lucia di Lammermoor in Belfast, a Servant in Richard Strauss's Capriccio with Glyndebourne Festival Opera and Bardolfo in Verdi's Falstaff for Glyndebourne Touring Opera in 1976. He appeared at the Wexford Festival for three consecutive seasons (1977–1979) in Smetana's The Two Widows, Luigi and Federico Ricci's Crispino e la comare and Montemezzi's L'amore dei tre re.
Orestes Slaying Clytemnestra, 1655 In the 19th century, Bernardino was dismissed as a tame follower of greater lights,"Non ebbe stile proprio ma prendeva, secondo il suo capriccio a imitare or Paolo [Veronese], ora i Carracci, ora il Guercino" (Rosini) but his painting was re-evalued in the later 20th century,He is still "a second-rate Sienese painter" in Francis Haskell, Patrons and Painters, 1980:154. expressed in the exhibition Bernardino Mei e la pittura barocca a Siena, Siena, 1987.
The critic Rodney Milnes singles out for mention Cox's Glyndbourne productions of Richard Strauss operas: Ariadne auf Naxos (1971), Capriccio (1973), Intermezzo (1974), Die schweigsame Frau (1977), Der Rosenkavalier (1980) and Arabella (1984). Cox succeeded Peter Ebert as general administrator and artistic director of Scottish Opera in 1981, holding the post until 1986. In 1988 he was appointed production director of the Royal Opera, Covent Garden. As well as Strauss, Cox is particularly known for his Mozart and Rossini productions.
Dvořák, a viola player, heard them and got the idea to compose a new chamber work for two violins and viola in order to play with them. The resulting composition was the Terzetto in C major, Op. 74, B. 148, composed from 7 to 14 January 1887. It was, however, too difficult for Kruis, and Dvořák therefore composed another trio, but considerably simpler. The second trio, Miniatures, was written in four movements, which he titled: "Cavatina", "Capriccio", "Romance" and "Elegy" ("Ballad").
The film is generally regarded as an allegory to the human fate. Huszárik made another experimental short film called Capriccio (about snowmen melting in the spring as an allegory to man's ultimate fate - death) and a short documentary on Hungarian-born artist Amerigo Tot, both in 1969. He also directed several state-financed educational short films in this period. In 1971 Huszárik finished his first feature-length work Szindbád (Sinbad), a highly stylized adaptation of early 20th century author Gyula Krúdy's short stories.
The usual synthesizers were present (including Minimoog and ARP Odyssey), and Hütter's Farfisa electronic piano made a return on "Transistor". For the first time the group did not use flute, violin or guitars. By 1975, Hütter and Schneider's previous publishing deals with Capriccio Music and Star Musik Studio of Hamburg had expired. The compositions on Radio-Activity were published by their own newly set up Kling Klang Verlag music publishing company, giving them greater financial control over the use of songwriting output.
The basis for the assumption is that Luciano's early works are very close in style to those of Codazzi to the point of often being confused with works of his presumed master.Ascanio Luciano, Capriccio with the vision of St. Augustine in a ruined arcade at Piraneseum In 1665 Luciano became a member of the Congregation of painters of Ss. Anna and Luca. Palatial architecture with figures Luciano lived until a very old age and died in Naples on 18 August 1706.
Hubert Robert's images of ruins, inspired by Italian capriccio paintings, are typical in this respect. So too the change from the rational and geometrical French garden (of André Le Nôtre) to the English garden, which emphasized (artificially) wild and irrational nature. One also finds in some of these gardens curious ruins of temples called follies. The middle of the 18th century saw a turn to Neoclassicism in France, that is to say a conscious use of Greek and Roman forms and iconography.
The Capriccio for Piano Left-Hand and Chamber Ensemble (sometimes titled Defiance, in Czech: Vzdor) is a composition by the Czech composer Leoš Janáček. The work was written in the autumn of 1926 and is remarkable not just in the context of Janáček's output, but it also occupies an exceptional position in the literature written for piano played only by the left hand.Procházková (2001) p. XXI. The piece is scored for piano, flute, two trumpets, three trombones and tenor tuba.
However, in May 1927 he sent the score to the pianist, and in the summer of the same year Hollmann started to study the new composition. The first private hearing of the work took place on February 6, 1928 at Janáček's apartment in Brno, to the composer's satisfaction. The preparations for the premiere of the Capriccio were led by the conductor Jaroslav Řídký. Janáček observed with humour that the trombonists of the renowned Czech Philharmonic were forced to practise their parts at home.
Procházková (2001) p. XIX. The premiere took place on March 2, 1928 in the Smetana Hall of the Municipal Cultural Center in Prague, with conductor Jaroslav Řídký and seven Czech Philharmonic members: Václav Máček (flute), Evžen Šerý and František Trnka (trumpets), Antonín Bok, Jaroslav Šimsa and Gustav Tyl (trombones) and with Antonín Koula (tenor tuba). Janáček often called the piece "Vzdor" (Defiance) in his letters to Kamila Stösslová. The first edition of the Capriccio was prepared by Jarmil Burghauser in 1953.
The change of timbres, the felicitous choice > of melodic designs and figuration patterns, exactly suiting each kind of > instrument, brief virtuoso cadenzas for instruments solo, the rhythm of the > percussion instruments, etc., constitute here the very essence of the > composition and not its garb or orchestration. The Spanish themes, of dance > character, furnished me with rich material for putting in use multiform > orchestral effects. All in all, the Capriccio is undoubtedly a purely > external piece, but vividly brilliant for all that.
In circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the parish church of Roncegno. Capriccio View of a Venetian Campo (c. 1780) In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, of which only two remain, and two others for that of Pope Pius VI. On September 12 of that year he was admitted to the Fine Art Academy of Venice.
Borovansky was naturalised as a British subjectAt that time, there was no Australian citizenship; this came into existence only in January 1949. in 1944, becoming a well-known figure in Melbourne and "notorious for his despotic treatment of his dancers". In 1944, the 40-strong company had toured the mainland capitals, Tasmania and New Zealand with a repertoire that included Giselle, Swan Lake (Act II), Les Sylphides, En Saga, Capriccio Italien, Frederick Ashton's Façade, and Borovansky's symphonic fantasy, Vltava. In 1945, the company toured mainland Australia again.
He left for Budapest in order to follow the advice of Vilmos Tátrai. At the end of his studies he obtained a prize from the Ministry of Culture. Passionate about early music, he learnt baroque violin with Patrick Bismuth at the CNSMDP and perfected his skills with Enrico Gatti. After playing with Les Musiciens du Louvre and Les Arts Florissants, he took over the role of concertmaster in ensembles like Il Seminario Musicale, La Simphonie du Marais, Capriccio Stravagante, the Ricercar Consort, Les Talens Lyriques, Les Agrémens.
She returned to that role during the Met's 2010-2011 season, along with the Gräfin in Capriccio. On November 14, 2009, Fleming performed at a concert in Prague organized by Václav Havel to celebrate the 20th anniversary of the Czech Velvet Revolution, which also featured Lou Reed, Joan Baez and others."Concert on the 20th anniversary of the Velvet Revolution", Dagmar and Václav Havel Foundation Fleming sang the aria "Song to the Moon" from Rusalka in Czech, and also sang "Perfect Day" in a duet with Reed.
Among the works written especially for this series were the three by Rimsky-Korsakov by which he is currently best known in the West—Scheherazade, the Russian Easter Festival Overture and Capriccio espagnol. To select which composers to assist with money, publication or performances from the many who now appealed for help, Belyayev set up an advisory council made up of Glazunov, Lyadov and Rimsky- Korsakov. They would look through the compositions and appeals submitted and suggest which composers were deserving of patronage and public attention.Maes, 173.
Capriccio burlesco is an orchestral work by Sir William Walton, written between May and September 1968 at his home in Ischia, Italy.Liner notes to the premiere recording, mfp classics, CFP 4074 It was commissioned by the New York Philharmonic in celebration of its 125th anniversary, and was dedicated to Andre Kostelanetz, who conducted the first performance on 7 December 1968 at the Lincoln Center for the Performing Arts, New York City.William Walton.net/works Kostelanetz also made the premiere recording of the work, with the New York Philharmonic.
Outside Germany, he performed as Klingsor at La Fenice in Venice in 1983, at the Maggio Musicale Fiorentino, the Edinburgh Festival, La Monnaie in Brussels, the Teatro Massimo in Palermo and the Royal Opera House in London. At the Vienna State Opera, he appeared as Pizarro, Holländer, Telramund, Kurwenal, Gunther, Jochanaan, as the Count in Capriccio by Richard Straus, and Leonardo in Fortner's Bluthochzeit, among others. Nöcker was also active as a concert singer. He was titled a Bavarian Kammersänger in 1966, and in Berlin in 1977.
The work is in standard four movement form and scored for flute, two oboes, two bassoons, two trumpets, two horns, timpani and strings (violin I, violin II, viola, cello, double bass). Out of the six Paris symphonies, the 86th and 82nd are the only two to use percussion and trumpets. There are four movements: #Adagio, — Allegro spiritoso, #Capriccio: Largo, in G major #Menuetto: Allegretto, #Finale: Allegro con spirito, File: Haydn-86-1-opening- allegro.png The first movement is in sonata form and is broadly conceived.
In 2004 three of his major orchestral works—the symphony Dream of the Year 2000, the overture Taiwan's New Century and The Crying Mermaid—were featured in an NTNU tour program entitled Rondo Capriccio. The works were performed by Apo Hsu conducting the NTNU Symphony Orchestra. In 2007 the three works were featured again in the orchestra's American tour program entitled Formosa Dreaming. The works were performed by Apo Hsu conducting the NTNU Symphony Orchestra and Formosa Festival Choir prepared by Huang Tsui-yu.
Walton's orchestral works of the 1960s include his Second Symphony (1960), Variations on a Theme by Hindemith (1963), Capriccio burlesco (1968), and Improvisations on an Impromptu of Benjamin Britten (1969). His song cycles from this period were composed for Peter Pears (Anon. in Love, 1960) and Schwarzkopf (A Song for the Lord Mayor's Table, 1962). He was commissioned to compose a score for the 1969 film Battle of Britain, but the film company rejected most of his score, replacing it with music by Ron Goodwin.
Since then, Axelrod has made many tours with professional youth orchestras, including Accademia della Scala, Orchestra Giovanile Italiana, Junge Norddeutsche Philharmonie, and the Wiener Jeunesse Orchester. Soloists whom Axelrod often works with include: Julia Fischer, Veronique Gens, Martin Grubinger, Thomas Hampson, Dietrich Henschel, Daniel Hope, Patricia Kopatchinskaja, Lang Lang, Sabine Meyer, Fazil Say, Rachel Kolly d'Alba, Lilya Zilberstein, and Ramón Vargas. Axelrod has premiered many new works by such composers as Wolfgang Rihm (Sotte Voce II),Rihm: Sotta voce 2 Capriccio. Presto Classical. Retrieved 2009-12-16.
Modernist critics accused him of "selling out", but Rosenkavalier proved an immense success with audiences around the world. Strauss continued to ignore critical fashion, producing the mixture of farce and high tragedy of Ariadne auf Naxos, the complex allegory of Die Frau ohne Schatten, the domestic dramas of Intermezzo and Arabella, and the mythological Die ägyptische Helena and Daphne. Strauss bid farewell to the musical stage with Capriccio of 1942, a "conversation piece" which explores the relationship between words and music in opera.Article on Strauss in Viking.
Marcus Creed, Capriccio/Target CD, 10169, 1989Abbado's disc, he wrote, had "superlative women soloists - Gundula Janowitz at her sweetest and most graceful, Frederica von Stade warm and musicianly as always". But his opinion of Abbado's tenor and bass was slightly harsher than when he had critiqued them on vinyl. Wiesław Ochman was now judged to be lacking in charm and no better than adequate, and Kurt Moll was "rather heavy and clumsy". The Vienna State Opera Chorus was still "precise and well-focused", however.
Born in 1962, Patricia Lavail graduated from the Conservatoire de Strasbourg where she studied with Alain Sobczak. In 1987, she was the first French laureate of the Early Music International Competition of the MAfestival Brugge in the instrumental solo category. She began teaching the recorder at the Conservatory of Saint-Cloud in her late teens, before directing the early music department. As an instrumentalist, she collaborated with ensembles such as Capriccio Stravagante, Suonare Cantare, Opera Fuoco and Sesquitercia, exploring a repertoire from the Middle Ages to Baroque.
Frère Jacques bears resemblance to the piece Toccate d'intavolatura, No.14, Capriccio Fra Jacopino sopra L'Aria Di Ruggiero composed by Girolamo Frescobaldi,Frescobaldi: Harpsichord Works, composer: Jacques Arcadelt, Girolamo Frescobaldi; Performer: Louis Bagger. Audio CD (August 28, 2001) which was first published around 1615Frescobaldi: Toccate & Partite, Libro Primo, Todd M. McComb \- "Fra Jacopino" is one potential Italian translation for "Frère Jacques".Fra Jacopino has additional historical importance. The half note and quarter note are reported to have first appeared in Frescobaldi's publication of Fra Jacopino.
Klarwein was born in Garmisch-Partenkirchen. He met Richard Strauss when he was a boy, and the composer noticed his talent. Klarwein studied voice with Fritz Kertzmann, then at the Musikhochschule Frankfurt and the Musikhochschule Berlin. He made his operatic debut in 1937 at the Volksoper Berlin and remained with the company until 1942, when he became a member of the ensemble of the Bavarian State Opera. There, he appeared on 28 October 1942 in the world premiere of Capriccio by Richard Strauss, as the Italian singer.
From 1945, he was a member of the Vienna State Opera, to which he belonged until 1979. After singing secondary roles in the beginning, he soon advanced to leading roles, performing 75 roles there. At the Salzburg Festival, he first appeared as a concert singer, then in 1949 and 1950 as the Minister in Beethoven's Fidelio, in 1950 also as Olivier in Capriccio by Richard Strauss and Tarquinius in Benjamin Britten's The Rape of Lucretia. Braun made guest appearances at many European opera houses.
He is considered to be one of the earliest violin virtuosos and he made many contributions to violin technique. For example, in his work Capriccio Stravagante (1627) he used the violin to imitate animal sounds like dogs barking or cats fighting. According to Cecil Forsyth's Orchestration, he "is generally credited" with "the invention of the double-stop"Cecil Forsyth, William Bolcom (1982). Orchestration, p.315. . (although nearly a century earlier Ganassi’s Regola rubertina (1542–3) describes the technique, suggesting it was common among contemporary viol players.
Pyotr Ilyich Tchaikovsky Pyotr Ilyich Tchaikovsky wrote several works well known among the general classical public—Romeo and Juliet, the 1812 Overture, and his three ballets: The Nutcracker, Swan Lake, and The Sleeping Beauty. These five, along with two of his four concertos, three of his six symphonies (seven if his program symphony Manfred is included), and two of his ten operas, are probably among his most familiar works. Almost as popular are the Manfred Symphony, Francesca da Rimini, the Capriccio Italien, and the Serenade for Strings.
"Scherzo à la russe", Op. 1, No. 1, is part of the first published work of Pyotr Ilyich Tchaikovsky, Two Pieces for Piano, Op. 1. It is based on a Russian folk tune in B-flat major, that the composer had earlier used in his first attempt to write a string quartet. It was first called Capriccio (Italian, "whim") but was later changed to "Scherzo à la russe". The other piece in the work was called "Impromptu" in E-flat minor, Op. 1, No. 2.
Crutchley enjoyed a long retirement at Mappercombe Manor, near Bridport in Dorset. In 1955 he was appointed High Sheriff of Dorset and in 1957 Deputy Lieutenant for Dorset. He was one of the last surviving admirals from World War II when he died in 1986 at the age of 92. In 1945 Crutchley had bought two paintings (Capriccio: The Lagoon, Venice and La Torre di Marghera) by the landscape artist Bernardo Bellotto; these were given to the nation in lieu of tax and presented to the Bristol City Museum and Art Gallery in 1988.
With its contrasts between freedom and enslavement, war and peace, light and dark, this work has a close affinity with Beethoven's Fidelio. Productions of the opera ceased shortly after the outbreak of war in 1939. The two men collaborated on two more operas which proved to be Strauss's last: Die Liebe der Danae (1940) and Capriccio (1942). When his Jewish daughter-in-law Alice was placed under house arrest in Garmisch-Partenkirchen in 1938, Strauss used his connections in Berlin, including opera-house General Intendant Heinz Tietjen, to secure her safety.
However, at Hamburg in 1957, , who had directed the opera at its premiere in Munich, inserted an interval at the point when the Countess orders chocolate, and other directors have often followed suit, including performances at Glyndebourne Festival Opera.Kennedy 2001, in Holden, p. 904 The final scene for Countess Madeleine can often be heard as an excerpt. Capriccio received its American professional premiere at The Santa Fe Opera in 1958 after the Juilliard School staged it in 1954 with Gloria Davy and Thomas Stewart as the aristocratic siblings.
After the premiere of the Capriccio sinfonico, Ponchielli and Puccini discussed the possibility that Puccini's next work might be an opera. Ponchielli invited Puccini to stay at his villa, where Puccini was introduced to another young man named Ferdinando Fontana. Puccini and Fontana agreed to collaborate on an opera, for which Fontana would provide the libretto. The work, Le Villi, was entered into a competition sponsored by the Sozogno music publishing company in 1883 (the same competition in which Pietro Mascagni's Cavalleria rusticana was the winner in 1889).
Additionally, Fleming appeared at numerous music festivals, including the Salzburg Festival and the Lincoln Center Festival and she gave recitals throughout Southeast Asia, Germany, and Switzerland. On September 22, 2008, Fleming became the first woman in the 125-year history of the Metropolitan Opera to solo headline opening night. Fleming performed three favorite roles: Violetta in act 2 of Verdi's La Traviata; Manon in act 3 of Massenet's Manon; and the Countess in the final scene of Strauss's Capriccio. The performance was also transmitted live in HD to screens in Times Square.
In February 2007 Prima Donna reached the Gold Status in Mexico. In May she toured and performed in the National Auditorium again being nominated for the second time at the October 2007 LUNAS. In December 2007 she gave a recital at the Esplanade Concert Hall in Singapore with the Philarmonic Orchestra. In 2008 Filippa entered the recording studio to write and co-produce her new material "Capriccio", where for the first time, she sings almost the entire album in Spanish reaching the first positions of the Mexican Charts until March 2009.
In 1957, she sang as Elisetta in Il matrimonio segreto, at the Edinburgh Festival. She also made guest appearances at the Paris Opéra, the Munich State Opera, the Vienna State Opera, and the Glyndebourne Festival (as the Italian Singer in Capriccio). In 1965, Ratti appeared in Fedora (as the Countess Olga Sukarev), opposite Magda Olivero and Mario del Monaco, at Naples. In America, she appeared at the San Francisco Opera, in 1958: Il barbiere di Siviglia, La bohème (as Musetta, opposite Jussi Björling), and Le nozze di Figaro (with Dame Elisabeth Schwarzkopf).
It is also the home of the Basel Sinfonietta and the Kammerorchester Basel, which recorded the complete symphonies of Ludwig van Beethoven for the Sony label, led by its music director Giovanni Antonini. The Schola Cantorum and the Basler Kammerorchester were both founded by the conductor Paul Sacher, who went on to commission works by many leading composers. The Paul Sacher Foundation, opened in 1986, houses a major collection of manuscripts, including the entire Igor Stravinsky archive. The baroque orchestras La Cetra and Capriccio Basel are also based in Basel.
He also collaborated with the albums Mecano and ¿Dónde está el país de las hadas?. His following singles reached the top of the charts: "Capriccio russo" (1986), "Tempo d'Italia" (1987) and "Vienna Concerto" (1989). In addition, his music reached the charts in the United Kingdom, France, Finland, Belgium, Germany, Argentina and Portugal. His 1990 album, Opera Extravaganza reached number 72 in the UK Albums Chart, whilst his single release, "Nessun Dorma from 'Turandot'" (featuring Plácido Domingo), peaked at number 59 in the UK Singles Chart later the same year.
Arie Van de Moortel biography at CeBeDeM Retrieved 7 February 2011. Van de Moortel won awards for his compositions including the Staf Nees Prize in 1951 for Variations on the Flemish Folk Song "There Was a Little Snow Bird", a composition for carillon, the Società del Quartetto G.B. Viotti composition prize in 1954 for his Trio for Reed Instruments, and the City of Rotterdam Prize (Stad Rotterdam Prijs) in 1957 for his carillon composition Capriccio rondom "Het viel een hemels dauw". His brother was bassoonist and composer Leo Van de Moortel (1919–1972).
In 1763 the pictures were engraved and published in a volume entitled Plans, Elevations, Sections and Perspective Views of the Gardens and Buildings of Kew in Surrey, the Seat of Her Royal Highness, the Princess Dowager of Wales. In 1795 his former pupil, John Curtis, published a set of six Italian views by Marlow. In an oil painting entitled Capriccio: St Paul's and a Venetian Canal (c.1795), now in the collection of the Tate Gallery, Marlow created an architectural fantasy in which Wren's cathedral was transferred to the Italian city.
Stravinsky had long had a special relationship with the city of Venice and the prestigious Venice Biennale. In 1925, he performed his Piano Sonata at the ISCM World Music Days there, and in 1934 conducted his Capriccio with his son as soloist, as parts of the Venice Biennale (; ). Stravinsky is even interred in Venice on the island of San Michele, as is the man who brought him to international fame with the 1910 commission of L'Oiseau de feu, Sergei Diaghilev . Stravinsky lacked direct experience with the acoustics of Saint Mark's .
There are various ways to play an erhu, such as bowing or plucking the strings. The uniqueness of the huqin series lies in how music can be produced from two fine metal strings less than 2 mm apart, without any frets or fingerboards. Well-known solo pieces for the erhu includes Sanmen Gorge Capriccio (三門峽暢想曲), Guang Ming Xing (光明行) as well as Lan Hua Hua (蘭花花). Banhu may sometimes be singularly used in the huqin section if a strong piccolo voice is needed.
One example of such modern compositions is The Great Wall Capriccio (长城随想, Chángchéng suíxiǎng), a concerto composed in 1981 for erhu by Liu Wenjin. Many of the popular early pieces for Chinese orchestra are based on folk music and other traditional genres. Some pieces were originally solo pieces for Chinese instruments or written for Western orchestra, but later rearranged for a Chinese orchestra. A notable figure is Peng Xiuwen who was appointed conductor and director of Central Broadcasting Station Orchestra in 1956, and who rearranged many compositions for the Chinese orchestra.
Among the special ventures of the ensemble is the biblical drama Rappresentatione di Giuseppe e i suoi fratelli / Joseph and his Brethren, Rappresentatione di Giuseppe e i suoi fratelli website composed by Elam Rotem, which was performed in Israel and Switzerland and released on CD by Pan Classics in 2014. The ensemble has cooperated with leading figures in the field of early music, such as Andreas Scholl and Skip Sempe, and instrumental groups such as Lautten Compagney Berlin, Accademia Daniel, the Jerusalem Baroque Orchestra, Dolce Risonanza and Capriccio Stravagante.
Two ostinato works survive, a passacaglia and a chaconne, both built on a descending bass pattern; the passacaglia is perhaps Kerll's most well-known work. The two best known keyboard pieces by Kerll are both programmatic, descriptive pieces. Battaglia is a descriptive piece in C major, over 200 bars long and featuring numerous repeats of fanfare-like themes, it is also attributed to Juan Bautista Cabanilles. Capriccio sopra il Cucu is based on an imitation of the cuckoo's call, which is heard more than 200 times in the piece.
He regularly collaborated with other artists including Hieronymus Janssens who painted the staffage in his work.Jacobus Ferdinandus Saey, A Palace Capriccio beside a Fountain with a Soldier and Elegant Figures in the Foreground at Sotheby’s As Saey rarely, in fact almost never, signed his paintings, it is difficult to differentiate his artistic production from that of two other even rarer Flemish painters who worked in almost exactly the same style: his contemporary Jacob Balthasar Peeters and a pupil of Peeters by the name of Jan Baptist van der Straeten.
The concerts also coaxed him out of his creative drought; he wrote Scheherazade, Capriccio Espagnol and the Russian Easter Overture specifically for them. He noted that these three works "show a considerable falling off in the use of contrapuntal devices ... [replaced] by a strong and virtuoso development of every kind of figuration which sustains the technical interest of my compositions".Rimsky-Korsakov, My Musical Life, 296. Rimsky-Korsakov was asked for advice and guidance not just on the Russian Symphony Concerts, but on other projects through which Belyayev aided Russian composers.
In June 2010, Krzysztof Penderecki invited Pawlikowski to work under his direction on the interpretation of his Capriccio per Siegfried Palm and other contemporary oeuvres. He also participated, as a member of the group of ten Polish cellists, in the educational encounters with Arto Noras. In November 2012, Pawlikowski was invited to play for opening of The European Krzysztof Penderecki Center for Music, first at the Polish Senate hall, second on the Center scene. In November 2013, Pawlikowski performed as a soloist in Deutsche Oper Berlin on Penderecki's 80th anniversary concert.
Il Silenzio (The Silence) is an instrumental piece, with a small spoken Italian lyric, notable for its trumpet theme. It was written in 1965 (see "Origin" below) by trumpet player Nini Rosso,Joseph Murrells The Book of Golden Discs, Barrie & Jenkins, 1978. . p 196 its thematic melody being an extension of the same Italian Cavalry bugle call used by the Russian composer Tchaikovsky to open his Capriccio Italien (often mistaken for the U.S. military bugle call "Taps"). It has become a worldwide instrumental standard that has sold around 10 million copies.
His success on his return to Paris in 1765 was rapid: the following year he was received by the Académie royale de peinture et de sculpture, with a Roman capriccio, The Port of Rome, ornamented with different Monuments of Architecture, Ancient and Modern.Le port de Rome, orné de différens Monumens d'Architecture ancien et moderne. Robert's first exhibition at the Salon of 1767, consisting of thirteen paintings and a number of drawings, prompted Denis Diderot to write: "The ideas which the ruins awake in me are grand." Robert subsequently showed work at every Salon until 1802.
In October 1998, the Orchestra was invited by a renowned Erhu master, Professor Wong Kwok-tung (王國潼) to perform in a concert with other Chinese Orchestras in the Hong Kong City Hall. The Orchestra debuted the piece "Capriccio on the Theme of Princess Changping" (帝女花隨想曲) and performed a couple of other pieces which were highly acclaimed. In 2005 and 2007, the Orchestra had participated in the 2nd and 4th "Youth Chinese Orchestra Beijing Invitational Competition" in Beijing, China and was awarded ‘Sunshine Prize’ (First Prize) in both years.
He created a new genre called symphonic mugam. Amirov's symphonic mugams were based on classical folk pieces and were performed by many renowned symphony orchestras throughout the world, such as the Houston Symphony Orchestra conducted by Leopold Stokowski. Amirov was a prolific composer. His most famous pieces include symphonic works such as "Shur" (1946), Kurd Ovshari (1949), "Azerbaijan Capriccio" (1961), "Gulustan Bayati-Shiraz" (1968), "The Legend of Nasimi" (1977), "To the Memory of the Heroes of the Great National War" (1944), "Double Concerto for Violin, Piano and Orchestra" (1948) etc.
The wide artistic interest of Amirov included operas, ballets, symphonies, symphonic poems, symphonic mugham, suites, capriccio, piano concertos, sonatas, musical comedies, songs, love songs, piano pieces, music for dramatic productions, and movies. Amirov created the first Azerbaijani lyrical-psychological opera on a contemporary theme. Moreover, he is the author of the first instrumental concert and a fairytale ballet in Azerbaijan. The most outstanding works that made the musician well-known around the world are opera ‘Sevil’ as well as ballet ‘One Thousand and One Night’ created on the basis of oriental tales.
The Colosseum, etching, 1757 Even though the social structure by an aristocracy remained rigid and oppressive, Venice revived through the Grand Tour as the center of intellectual and international exchange in the eighteenth century. The ideas of the Enlightenment stimulated theorists and artists all over Europe including Paris, Dresden, and London. New forms of artistic expression emerged: veduta, capriccio, and veduta ideata, topographical view, architectural fantasy, accurate renderings of ancient monuments assembled with imaginary compositions in response to the demand of increased visitors. The developing center of the Grand Tour was Rome.
His operas Jaakko Ilkka and the River Opera established a new genre called "performance opera", which fused music, visual art and the art of daily life. Panula's other compositions include musicals, church music, a violin concerto, jazz capriccio and numerous pieces of vocal music. Panula was the artistic director and chief conductor of the Turku Philharmonic Orchestra from 1963 to 1965, the Helsinki Philharmonic Orchestra from 1965 to 1972 and the Aarhus Symphony Orchestra from 1973 to 1976. He has also conducted his own opera Jaakko Ilkka at the Finnish National Opera.
Wiener first appeared at the Bayreuth Festival in 1957, and sang there until 1963 as Hans Sachs in Die Meistersinger von Nürnberg, Gunther in Götterdämmerung, Wotan/Wanderer in Der Ring des Nibelungen and in the title-role of Der fliegende Holländer. In 1962 he performed the role of Sachs at both the Royal Opera House, Covent Garden, and the Metropolitan Opera. In 1964, he appeared at the Glyndebourne Festival Opera in the role of La Roche in Capriccio. Wiener was one of the highest and brightest of the successful heldenbaritones of the 1950s and 60s.
In the 1740s Canaletto's market was disrupted when the War of the Austrian Succession led to a reduction in the number of British visitors to Venice. Smith also arranged for the publication of a series of etchings of "capricci" (or architectural phantasies) (capriccio Italian for fancy) in his vedute ideale, but the returns were not high enough, and in 1746 Canaletto moved to London, to be closer to his market. Whilst in England, between 1749 and 1752 Canaletto lived at number 41 Beak Street in London's Soho district.
The work is the culmination of a project Berwald commenced in 1863 as Lochleven Castle, (based on The Abbot by Walter Scott). This was considerably revised for a potential production the composer hoped for at the Théâtre Lyrique in Paris starring Christina Nilsson. The opera was not seen during Berwald’s lifetime, and first staged at the Royal Swedish Opera, Stockholm on 3 April 1968. The attractive overture may be a later version of the tone poem 'Humorous Capriccio' (1841) from Berwald’s Viennese years; it has occasionally been recorded.
The Russian Ruslan et Lyudmila (Glinka), the Czech Rusalka (Dvorak), and Sadko (Rimsky-Korsakov). She was also "to create works for the all-ballet evenings that alternated with evenings of opera." Consequently, she created the ballet for Capriccio Espagnol by Russian composer Nikolai Rimsky-Korsakov. She also staged several of her previous ballet creations (Les Noces and Les Biches) and other Ballets Russes fare of the Diaghilev era. In 1931 she turned down an "unusually generous" offer from de Basil in order to start the company, 'Ballets Nijinska'.
Janáček did not respond, but he thought about the idea for some time. By 30 October he had composed a work he called Capriccio for piano left-hand and chamber ensemble, but the first Hollmann knew of it was when he read about it in a newspaper. Although Janáček apparently wrote the work at Hollmann's instigation, he gave no indication anywhere that he dedicated the work to Hollmann or even wrote it with him in mind as performer. Janáček even refused to reserve the first performance for Hollmann, although he was eventually given that honour.
The event was opened by Sir Jonathan Phillips, Warden of Keble College, and was introduced by Magee's executor, the academic, author and editor Henry Hardy. It included audio and video clips of Magee, music chosen by him and played by the Amherst Sextet, and addresses by David Owen and Simon Callow. The music choices were the sextet from Strauss's Capriccio, the largo from Elgar's Serenade for Strings and the prelude to Wagner's Tristan und Isolde. The addresses by Owen and Callow were published together with a notice of Magee's life by Hardy in the Oldie.
Schaetzler married and divorced Hildegard Ranczak, leading Strauss soprano (Clarion, Capriccio premiere, 28 October 1942, Nationaltheater München), later marrying soprano Egidia Bonessi (German-Italian Culture Exchange, La Scala, Parma et al.). After World War II, Schaetzler served as baritone soloist for the American Forces Network (his wife succeeded Grace Moore as soprano soloist after Moore's death in 1947). Over a two and a half year period, Schaetzler and Bonessi hosted their own radio program, broadcast over AFN. With the support of Generals Dwight D. Eisenhower and George S. Patton, Schaetzler emigrated to the United States.
In 1919 Nicholson travelled with her father, who had been Under- Secretary of State for India, to Burma (now Myanmar), Ceylon (now Sri Lanka) and India. On 4 November 1920 she married the artist Ben Nicholson, the son of the painter Sir William Newzam Prior Nicholson and his wife, the painter Mabel Pryde. The couple bought a villa in Switzerland, the Villa Capriccio near the village of Castagnola on the north shore of Lake Lugano in Ticino. They spent the winters in Switzerland and the summers in Britain, painting still-lifes and landscapes.
Presto, pp. 38-39. :::[excerpt from the fifth movement of the C-sharp minor Quartet Op. 131 (score), transcribed for piano; consists of the first 24 bars, jumps to the fermata before the "a tempo" at bar 44 and proceeds to the cadence at the beginning of the first ending at bar 65] (Sitsky, p 278) :::Beispiele: Schubert-Liszt, Das Sterbeglöcklein. ::::::[Schubert song, D.871, transcribed for solo piano] ::::::[No.3 from Liszt's Sechs Melodien (6 Melodies), S.563] :::::Liszt, Valse a capriccio sur Lucia e Parisina (Erste Fassung) [S.
In the 1971/72 season, he sang it at the Metropolitan Opera in New York. Beckmesser was Kusche's signature role. His talent, which tended towards comedy, made him a suitable choice also for La Roche, the theatre director in Capriccio by Richard Strauss. Further important roles were Alberich in Wagner's Der Ring des Nibelungen, the title role in Verdi's Falstaff, Leporello in Mozart's Don Giovanni, Faninal in Der Rosenkavalier by Richard Strauss, Papageno in Mozart's Die Zauberflöte, Waldner in Arabella by Richard Strauss, and Don Alfonso in Mozart's Così fan tutte, among others.
Preludio, fuga e fuga figurata :::4. Introduzione e Capriccio (Paganinesco) :^ Drei Albumblätter (1917–1921) BV 289 :::3. In der Art eines Choralvorspiels :^ Bach: The Well-Tempered Clavier, Parts I and II, BWV 846-893, transcribed for piano by Busoni (1894, 1915) BV B 25 :::Part 1, No. 3, Prelude in C sharp Major, BWV 848 :::Part 1, No. 21 Prelude in B flat Major, BWV 866 :^ Sonatina brevis (no. 5), "In Signo Joannis Sebastiani Magni" (1918) BV 280 :^ Liszt Fantasy on Two Motives from W. A. Mozart's "Le Nozze di Figaro" (S.
However, as you pass along the National Highways, you can probably see Mangangarit skillfully climbing the tree and gliding all the way from one tree to another by the use of two bamboo logs horizontally knotted. There are several stores selling this type of wine, for you to experience its taste just visit the town. ;6. Puente de Capriccio: In Rizal's El Filibusterismo, he spoke of an old Spanish bridge made of stone in the year 1851. It was a one-arch bridge since it was not finished, early natives put bamboo footbridge to connect the opposite sides to make accessible.
He realized that his mission in life was to return to Russia, write in a Russian manner, and do for Russian music what Donizetti and Bellini had done for Italian music. His return route took him through the Alps, and he stopped for a while in Vienna, where he heard the music of Franz Liszt. He stayed for another five months in Berlin, during which time he studied composition under the distinguished teacher Siegfried Dehn. A Capriccio on Russian themes for piano duet and an unfinished Symphony on two Russian themes were important products of this period.
Hermitage decorations He also decorated the Stanza d'Ercole (1784–86) in Villa Borghese for Marcantonio Borghese. Once called Stanza del Sonno because of the statue of Sleep by Alessandro Algardi. The frescoes depict the Apotheosis of Hercules in the center surrounded by four of stories of his life, Receiving the horns of Achelous; Hercules and Lichas; Nessus and Deianeira, and the Death of Hercules. In 1790-91, Unterberger also helped design the playful Fontana dei Cavalli Marini (fountain of the sea horses) and the architectural capriccio of a hemi-facade (simulated ruins) of the Temple of Faustina in the Borghese gardens.
He was also celebrated for his Pizarro in Beethoven's Fidelio, of which a live 1960s recording from Covent Garden was issued for the first time in 2005 under the Testament label. Hotter had a close working relationship with Richard Strauss. He performed in the premieres of the Strauss late operas: as the commandant in the 1938 opera Friedenstag, as Olivier in Capriccio in 1942 and the Jupiter in private dress rehearsal in 1944 of Die Liebe der Danae. After the end of the war, he also sang Sir Morosus in Die Schweigsame Frau with the Vienna Philharmonic conducted by Karl Böhm.
The ' provided a new model for the one-movement concerto in several contrasting sections (such as Liszt's, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber's shorter piano pieces, such as the Invitation to the Dance, were later orchestrated by Berlioz, while his Polacca Brillante was later set for piano and orchestra by Liszt. However, Weber's piano music all but disappeared from the repertoire. One possible reason for this is that Weber had very large hands and delighted in writing music that suited them.
Wanda Wiłkomirska often performed in a piano trio, accompanied by her sister Maria at the piano and her brother Kazimierz on the cello, as the Wiłkomirska Trio. She also played with Krystian Zimerman, Daniel Barenboim, Gidon Kremer, Natalia Sheludiakova, Martha Argerich, Kim Kashkashian and Mischa Maisky. Wiłkomirska gave premiere performances of various Polish contemporary compositions, such as: Grażyna Bacewicz's Violin Concerto No. 5 (1951) and Violin Concerto No. 7 (1979), Tadeusz Baird's Expressions (1959), Augustyn Bloch's Dialogues (1966), Krzysztof Penderecki's Capriccio (1968), Zbigniew Bargielski's Violin Concerto (1977), Zbigniew Bujarski's Violin Concerto (1980), Roman Maciejewski's Sonata (1998) and Włodzimierz Kotoński's Violin Concerto (2000).
In 1602, Hieronymus made a group-portrait of the senior merchants, city officers and aldermen of Paris (current location unknown, probably destroyed in 1871). Vanitas, Capriccio of a Dominican preaching to Emperor Charles V (between 1583 and 1610) His paintings are in an elegant Mannerist style and unite elements of the Antwerp, Italian (especially Venetian) and French styles, although the influence of Fontainebleau is the most pronounced. Hieronymus was much acclaimed for his anatomical drawings, as is confirmed by Philip Galle's series of prints published under the title Instruction et fondements de bien pourtraire. He likely also made designs for prints.
In 1986, Vai was cast in director Walter Hill's film Crossroads as the Devil's guitar player "Jack Butler." In the "cutting heads" scene between Vai's Jack Butler and Ralph Macchio's Eugene "Lightning" Martone, Vai wrote and performed all guitar parts with the exception of the slide guitar (which was performed by Ry Cooder). The main body of the final piece performed in the duel scene (the fast-paced neoclassical track "Eugene's Trick Bag") was based heavily on Niccolò Paganini's Capriccio number 5. The Crossroads duel appeared on the 2002 album The Elusive Light and Sound, Vol. 1.
A = 417) and strung in gut. The ensemble—led by Rudolf Baumgartner and including Nikolaus and Alice Harnoncourt alongside other leading Viennese musicians—was named the Amati Orchestra, since all of the string instruments they used had been made by either members of the Amati dynasty or their students. Ahlgrimm was a close friend of the German composer Richard Strauss and performed a 79th birthday concert for him in Vienna's Konzerthaus (Mozart-Saal) in 1943. Strauss composed a concert-ending to a suite of dances from his last opera, Capriccio (1942), arranged by Ahlgrimm for solo harpsichord at Strauss's suggestion.
Fine's early compositional style was highly dissonant and contrapuntal. In 1934 she began a nine-year course of composition studies with Roger Sessions, and her work became for a time more tonal, as exemplified by Suite in E Flat (1940) and Concertante for Piano and Orchestra (1944). In 1946, with Capriccio for Oboe and String Trio and The Great Wall of China, she returned to a freer mode of expression, to which she adhered for the remainder of her career, steadily expanding her expressive and generic range. She employed diverse techniques corresponding to a wide range of musical subjects.
The 1812 overture complete with cannon fire was performed at the 2005 Classical Spectacular Among the other works, Capriccio Italien is a travelogue of the composer's time there during his years of wandering and a conscious emulation of the Mediterranean episodes in Glinka's Spanish Overtures.Brown, New Grove (1980), 18:620; Wiley, Tchaikovsky, 232. Francesca da Rimini contains a love theme in its central section that is one of Tchaikovsky's best examples of "unending melody." The composer was particularly fond of this work and conducted it often, most notably at Cambridge when he received his honorary doctorate in 1892.
Walker, Lynne The Independent 18 April 2008 For the Royal Opera House, she has sung Fyodor, Baronne (Chérubin), Comtesse de Coigny (Andrea Chenier), Herodias's Page (Salome). For English Touring Opera, she has sung Jezibaba (Rusalka) Millington, Barry Evening Standard 14 October 2008 and Kabanicha (Katya Kabanova).Elleson, Ruth Opera Today 24 March 2009 For Garsington Festival Opera she has sung Clairon (Capriccio) and Mistress Quickly (Falstaff) . She has performed Fricka (Das Rheingold and Die Walküre) for Longborough Festival Opera.Kennedy, Michael Sunday Telegraph July 1999 She sang Rosa Mamai (L'Arlesiana) for Holland Park in the British professional premiere of Cilea’s opera.
He directed plays at the Vienna Burgtheater, the Schiller Theater in Berlin, the Residenztheater in Munich and the Salzburg Festival (Leonce and Lena, Nathan the Wise, La Folle Journée by Beaumarchais). He directed opera at the Salzburg Festival: Capriccio, The Magic Flute and Die Entführung aus dem Serail, working with conductor Georg Solti. At the Royal Opera House Covent Garden in London he directed Mozart's Idomeneo, The Marriage of Figaro (1987), Così fan tutte (1989), and Don Giovanni. With conductor Nikolaus Harnoncourt he directed Idomeneo (1987) and Così fan tutte (1989) at the Vienna State Opera.
Maatstaf was a Dutch literary magazine, founded in 1953 by Bert Bakker. Bakker, who was the magazine's first editor, is credited with bringing in poets such as Ida Gerhardt. The magazine had a reputation for publishing "realist" authors (such as Maarten 't Hart), and was categorized as "neoromantic," one of a number of Dutch literary magazines in an "anti- experimental tradition." Dutch poet Gerrit Komrij, who edited the magazine from 1969 on, was the subject of a themed issue in 1984, and again in 1996, this last time centered on a collection of ten homo-erotic poems he had published in 1978, Capriccio.
"Oestreich, James R. "Classical Music in Review". The New York Times, May 5, 1993, accessed October 13, 2012. Troyanos was scheduled to reprise the Mahler Third at Tanglewood in August, but her final stage appearances were in a somewhat lighter vein, as the actress Clairon in Richard Strauss' Capriccio at San Francisco Opera between June 12 and July 1, 1993. She had fallen ill during rehearsals but sang all the performances, and Joseph McLellan of the Washington Post recalled that the revival was "highlighted not only by the radiant presence of Kiri Te Kanawa but by the deceptively robust performance of Tatiana Troyanos.
The concerto is in two movements, each featuring a slow and a fast section. Echoing the Baroque slow- fast-slow-fast Sonata da chiesa,Breier, Albert (2005), 20th Century Bassoon Concertos, (Capriccio Records - 67-139), liner notes (translated by Janet and Michael Berridge). it also displays influence from neo-classicism and jazz.Musicweb-international.com CD Review - Jonathan Woolf The opening Recitativo displays the large range of the bassoon in a sparsely accompanied tirade by the soloist, beginning with quiet, tense and angular statements in the high range, but becoming more and more agitated, frenetic and declamatory, often running up and down the instrument vigorously.
Hildegard Ranczak (Vítkovice, 20 December 1895 - Vienna, February 1987) was a Bohemian operatic soprano, particularly associated with Richard Strauss roles, and largely based in Germany. She married and later divorced German baritone Fritz Schaetzler. She studied in Vienna with Irene Schlemmer-Ambros and made her debut in Düsseldorf in 1919, as Pamina. After engagements in Cologne (1923–25), Stuttgart (1926–28), she became a member of the Munich State Opera, where under the direction of Clemens Krauss she often appeared in operas by Richard Strauss, creating Clairon in Capriccio, other notable roles included Octavian, Zdenka, Aithra, Die Farberin.
Much is genuinely beautiful, but it mainly boils down to three gestures: gentle lappings of bittersweet harmonies, dissonant fanfares at dramatically charged moments and brief episodes of neoclassical wind chirpings." : "Morrison's score is more mature and of-the-moment, influenced as classical music is these days by everything from Verdi to movie soundtracks." : "Morrison's robust, derivative score is a model of effectiveness, if lacking much coherence. He admits to a fondness for Britten and it shows, with reminders of Samuel Barber and Menotti and, in Wilde's two big arias, a tiny homage to the final scene of Strauss' Capriccio.
An imitation of the post horn's fanfare was a common device in music describing, or referring to, the post coach or travel in general. Notable examples include Bach's Capriccio on the departure of a beloved brother, which includes an "Aria di postiglione" and a "Fuga all'imitazione della cornetta di postiglione", both containing the characteristic octave jump typical for the instrument. Handel's Belshazzar includes, in the second act, a "Sinofonia" that uses a similar motif (subtitled Allegro postilions) depicting Belshazzar's messengers leaving on a mission. A very similar movement is included in the third "Production" of Telemann's Tafelmusik.
His best-known orchestral compositions—Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade—are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy-tale and folk subjects. Rimsky-Korsakov believed in developing a nationalistic style of classical music, as did his fellow-composer Mily Balakirev and the critic Vladimir Stasov. This style employed Russian folk song and lore along with exotic harmonic, melodic and rhythmic elements in a practice known as musical orientalism, and eschewed traditional Western compositional methods.
Russian Easter Festival Overture: Overture on Liturgical Themes (, ), Op. 36, also known as the Great Russian Easter Overture, is a concert overture written by the Russian composer Nikolai Rimsky-Korsakov between August 1887 and April 1888. It was dedicated to the memories of Modest Mussorgsky and Alexander Borodin, two members of the group of composers known in English as "The Five". It is the last of what many call his three most exceptionally brilliant orchestral works, preceded by Capriccio Espagnol and Scheherazade. The work received its premiere at a Russian symphony concert in St. Petersburg in late December 1888.
Delta Entertainment Corporation released music under the labels of LaserLight Digital, Time-Life Music, Reader's Digest Music, Yamaha, Legend and Style, Capriccio and Delta.Delta music label summary; www.allrecordlabels.com. On July 25, 2007, Delta Entertainment Corporation filed a voluntary petition for reorganization under Chapter 11 of the U.S. Bankruptcy Court for the Central District of California, Los Angeles.Delta Entertainment Linkedin Profile; www.linkedin.com. At the time of the Chapter 11 filing, two major unsecured creditors were Sony Disc Manufacturing, owed over $1,000,000, and the Harry Fox Agency, which was owed over $300,000.Delta Entertainment Disclosure Statement, describing plan of liquidation, June, 2008; www.kccllc.net.
Die Liebe der Danae (The Love of Danae) is an opera in three acts by Richard Strauss to a February 1937 German libretto by Joseph Gregor, based on an outline written in 1920, "Danae, or The Marriage of Convenience", by Hugo von Hofmannsthal.Boyden, p. 327 Strauss worked on the score in 1937, 1938 and into 1939, although he was pre-occupied with completing Daphne, developing ideas with Gregor and finally replacing him as librettist for Capriccio, and then succumbed to illness, which caused postponement for several months into 1940. The opera was finally finished on 28 June 1940.
He wrote a "jazz band piece" that Imogen later arranged for orchestra as Capriccio. Having composed operas throughout his life with varying success, Holst found for his last opera, The Wandering Scholar, what Matthews calls "the right medium for his oblique sense of humour, writing with economy and directness". Harvard University offered Holst a lectureship for the first six months of 1932. Arriving via New York he was pleased to be reunited with his brother, Emil, whose acting career under the name of Ernest Cossart had taken him to Broadway; but Holst was dismayed by the continual attentions of press interviewers and photographers.
Another major triumph for her in Berlin was the role of Iphigenie in the 1987 production of Gluck's Iphigénie en Aulide. Some of her other roles in Berlin include Elsa in Richard Wagner's Lohengrin, Eva in Die Meistersinger, Gräfin Madeleine in Capriccio, Violetta in La traviata, and the title role in Arabella. Hajóssyová has also worked extensively as a freelance artist on the international stage. Notable debuts include the Vienna State Opera (1976), the Bolshoi Theatre (1979), the Bavarian State Opera (1981), the Palais Garnier (1983), the Festival de Ópera de Las Palmas (1985), and the Liceu (1988).
Sacher hexachordArnold Whittall, The Cambridge Introduction to Serialism, Cambridge Introductions to Music (New York: Cambridge University Press, 2008): 206. (hardback) (pbk).: E (Es) A C B (H) E D (Re) The Sacher hexachord (6-Z11, musical cryptogram on the name of Swiss conductor Paul Sacher) is a hexachord notable for its use in a set of twelve compositions (12 Hommages à Paul Sacher) created at the invitation of Mstislav Rostropovich for Sacher's seventieth birthday in 1976. The twelve compositions include Pierre Boulez's Messagesquisse, Hans Werner Henze's Capriccio, Witold Lutosławski's Sacher Variation, and Henri Dutilleux's Trois strophes sur le nom de Sacher.
Previously in March 1943, Leo Borchard had first performed Einem's composition Capriccio (Op. 2) with the Berlin Philharmonic orchestra. During World War II, in Berlin, Einem helped to both save the life and continue the professional development of young Jewish musician by employing him as an rehearsal assistant for Prinzessin Turandot and later helping him obtain other employment. Einem obtained a ration book and membership card of the Reich Musicians' Chamber for Latte, and lent him his own pass to the State Opera as well as introducing him to friends who could help his underground existence.
Hubert Robert's images of ruins, inspired by Italian capriccio paintings, are typical in this respect as well as the image of storms and moonlight marines by Claude Joseph Vernet. So too the change from the rational and geometrical French garden of André Le Nôtre to the English garden, which emphasized artificially wild and irrational nature. One also finds in some of these gardens—curious ruins of temples—called "follies". The last half of the eighteenth century saw a turn to Neoclassicism in France, that is to say a conscious use of Greek and Roman forms and iconography.
Capriccio of ancient ruins at a Mediterranean port with boats and bystanders He also collaborated with specialist still life painters to create collaborative works combining landscape and still life painting. An example is the Flower garland and marine landscape of the Golf of Gaeta, a collaboration with Flemish still life painter Abraham Brueghel. It shows in the centre a harbour scene with figures in the foreground which is surrounded by a flower garland. The work is characteristic of late 17th century Neapolitan painting which aimed almost exclusively at ornamental and decorative effect rather than at naturalism.
Hannaneh also composed soundtracks for Persian films and he was the first composer who composed music for films in Iran. Hannaneh's most important works include "The Execrable Capriccio per pianoforte e Orchestra"; "Hezar-Dastan Overture" (on a melody by Morteza Neydavoud; for symphonic orchestra); "In Memory of Ferdowsi" (for soprano and piano), the books "Lost Scales"; "The Even Harmony"; (in Persian), etc. In addition to being an outstanding composer Morteza Hannaneh was a great teacher and mentor to many. One of his notable students is Canadian composer, conductor and strategist Joseph Lerner and Iranian musician Amir Ali Hannaneh.
They are also found in the "Dance of the Seven Veils" from Richard Strauss' opera Salome and in Richard Wagner's Tannhäuser. An unusual variation on the standard castanets can be found in Darius Milhaud's Les Choëphores, which calls for castanets made of metal. Other uses include Rimsky-Korsakov's Capriccio espagnol, Ravel's Rapsodie espagnole, Francis Poulenc's Concerto for Two Pianos and Orchestra in D minor and Karl Jenkins's Tangollen. One can also see Spanish influence in the music of Naples through the presence of castanets, as it was registered by Athanasius Kircher on his Tarantella Napoletana (tono hypodorico).
Hunt and Pettitt, p. 260 Later sets from the 1950s were The Barber of Seville (Galliera, 1957);Hunt and Pettitt, p. 303 Capriccio (Sawallisch, 1957);Hunt and Pettitt, p. 311 Lucia di Lammermoor (Serafin, 1959),Hunt and Pettitt, p. 341 Le nozze di Figaro and Don Giovanni (both Giulini, 1959).Hunt and Pettitt, p. 361 Other recordings by the Philharmonia in the 1940s and 1950s include Leonard Bernstein as soloist and conductor in Ravel's Piano Concerto in G,Hunt and Pettitt, p. 150 a series of Walton's major works, conducted by the composer,Hunt and Pettitt, pp.
This concerto numbers among many works for piano written about the same time to be played by the composer himself. This is also true of Capriccio for Piano and Orchestra (1929), his Sonata of 1924 and his Serenade in A (1925). He kept the performance rights to himself for a number of years, wanting the engagements for playing this work for himself, as well as urgently desiring to keep "incompetent or Romantic hands" from "interpreting" the piece before undiscriminating audiences.Michael Steinberg, The Concerto: A Listener's Guide (Oxford and New York: Oxford University Press, 1998) (cloth) (pbk), 467.
Amongst the notable singers who have performed with the company are Susan Chilcott (The Countess in Le nozze di Figaro, 1993 ) Susan Bullock (Helena in Die ägyptische Helena, 1997) Yvonne Kenny (Christine in Intermezzo, 2001) Matthew Rose (Osmin in Die Entführung aus dem Serail, 2013) Lesley Garrett (Despina in Così fan tutte, 2015) Toby Spence (Idomeneo in Idomeneo, 2016) Roderick Williams (Eugene Onegin in Eugene Onegin, 2016) and Miah Persson (Countess in Capriccio, 2018). Conductors include David Parry, Ivor Bolton, Jane Glover, Jac van Steen, Richard Farnes and the founder of Grange Park Opera, Wasfi Kani.
Subsequently, Carsen staged Der Ring des Nibelungen by Richard Wagner in Cologne, Eugene Onegin at the Metropolitan Opera, Il Trovatore in Bregenz, Capriccio by Richard Strauss, Alcina by Handel and Rusalka at the Opera Bastille with Renée Fleming, The Magic Flute in Baden-Baden, La Traviata at La Fenice, Mefistofele at the San Francisco Opera and Der Rosenkavalier at the Salzburg Festival. He directed seven Puccini operas in Belgium and Verdi's Shakespearean trilogy of (Macbeth, Falstaff and Otello) in Germany. In addition, Carsen directed Sunset Boulevard and The Soldier's Tale with Sting, Vanessa Redgrave and Ian McKellen.
A Canaletto ("often suspicious") was a feature of the scheme. However, for the rich Rex Whistler could provide something similar. Here, a Baroque "Capriccio" mural at Plas Newydd, the "feature panel" of the dining room According to Osbert Lancaster, key constituents and elements of Curzon Street Baroque included Venetian hand- painted furniture and art in the style of Canaletto (often of doubtful provenance). An ecclesiastical air could also be employed, which could be achieved by twisted Baroque candlesticks, old leather bound hymn books hollowed out to become cigarette boxes, and ancient gilt prie-dieux transformed into cabinets for the disguising of gramophones.
After returning from Rome in 1719, he began painting in his topographical style. His first known signed and dated work is Architectural Capriccio (1723, Milan, in a private collection). Studying with the older Luca Carlevarijs, a well-regarded painter of urban cityscapes, he rapidly became his master's equal. In 1725, the painter Alessandro Marchesini, who was also the buyer for the Lucchese art collector Stefano Conti, had inquired about buying two more 'views of Venice', when the agent urged him to consider instead the work of "Antonio Canale... it is like Carlevaris, but you can see the sun shining in it."J.
Giovanni Paolo Panini or Pannini (17 June 1691 – 21 October 1765) was a painter and architect who worked in Rome and is primarily known as one of the vedutisti ("view painters"). As a painter, Panini is best known for his vistas of Rome, in which he took a particular interest in the city's antiquities. Among his most famous works are his view of the interior of the Pantheon (on behalf of Francesco Algarotti), and his vedute—paintings of picture galleries containing views of Rome. Most of his works, especially those of ruins, have a fanciful and unreal embellishment characteristic of capriccio themes.
Irma Beilke (24 August 1904 – 20 December 1989) was a German operatic soprano, concert singer and academic voice teacher. A member of the Städtische Oper Berlin for decades, and also a member of the Vienna State Opera, she appeared in leading roles of the coloratura soprano and lyric soprano repertoire at major opera houses and festivals internationally, such as Mozart's Blonde and Verdi's La traviata. She took part in world premieres, including Capriccio by Richard Strauss. In 1945, she appeared in the first opera performance in Berlin after World War II, as Marzelline in Beethoven's Fidelio.
Lemish also expresses discomfort with the widespread use of multiple street and prescription drugs helping to maintain the party atmosphere. Faggots details the use of over two dozen 1970s party drugs and intoxicants such as Seconal, poppers, LSD, Quaaludes, alcohol, marijuana, Valium, PCP, cocaine and heroin. The book moves through, among other locales, a gay bathhouse called the "Everhard" (based on the Everard Baths), a large disco named Capriccio, an orgy at the apartment of a successful gay lawyer, the spectacular opening of a club called The Toilet Bowl, and ends with a tumultuous weekend on Fire Island.
The Capriccio was inspired by a trip Tchaikovsky took to Rome with his brother Modest as respite from the composer's disastrous marriage with Antonina Miliukova. It was in Rome, however, that the observant Tchaikovsky called Raphael a "Mozart of painting." While in Rome, he wrote to his friend Nadezhda von Meck: > I have already completed the sketches for an Italian fantasia on folk tunes > for which I believe a good fortune may be predicted. It will be effective, > thanks to the delightful tunes which I have succeeded in assembling partly > from anthologies, partly from my own ears in the streets.
Another internationally noted performance was the part of Clairon in the 1991 Salzburg Festival production of Capriccio by Richard Strauss, conducted by Horst Stein. In 1997, she appeared as Selim in the first revival in modern times of Hasse's Solimano at the Innsbruck Festival of Early Music, in a production staged by and conducted by René Jacobs, with Thomas Randle in the title role. Vermillion also collaborated with Claudio Abbado, Daniel Barenboim and Giuseppe Sinopoli. She was awarded the prize Der Faust for her performance in the title role of Othmar Schoeck's Penthesilea at the Semperoper in 2008.
During his studies he was engaged at the Meiningen State Theatre, where he sang such roles as Wolfram von Eschenbach in Richard Wagner's opera Tannhäuser. From 1997 to 2005 he was an ensemble member at the Staatsoper Dresden (and sang roles such as Count Almaviva in Le nozze di Figaro, Papageno in Die Zauberflöte, Guglielmo in Cosi fan tutte and Olivier in Capriccio. In 2003, The Gramophone mentioned his "beautiful singing" and "gifts as a Lieder interpreter". Kupfer had guest engagements among others at the Staatsoper Unter den Linden (as Olivier) and the Bavarian State Opera (as Guglielmo).
In December, she was asked to replace Cheryl Studer, who was going to perform all main female roles, in Olympia in a production of Hoffmann. After she attended a performance where Barbara Bonney had sung Sophie in Der Rosenkavalier under Carlos Kleiber, she was cast in the same role with another conductor. Besides Blonde and Zerbinetta, her best known and most often played roles, she also performed Italian Singer (Capriccio), Aminta (Die schweigsame Frau), Fiakermilli (Arabella) with the company. In 1994, Dessay first performed the role of the Queen of the Night in The Magic Flute staged by Robert Carsen at the Aix-en- Provence Festival to critical acclaim.
His last operas, Daphne, Friedenstag, Die Liebe der Danae and Capriccio used libretti written by Joseph Gregor, the Viennese theatre historian. Other well-known works by Strauss include two symphonies, lieder (especially the Four Last Songs), the Violin Concerto in D minor, the Horn Concerto No. 1, Horn Concerto No. 2, his Oboe Concerto and other instrumental works such as Metamorphosen. Strauss was also a prominent conductor in Western Europe and the Americas, enjoying quasi-celebrity status as his compositions became standards of orchestral and operatic repertoire. He was chiefly admired for his interpretations of the works of Liszt, Mozart, and Wagner in addition to his own works.
She sang the title role in Massenet's Thaïs with the Lyric Opera of Chicago, in addition to Rusalka at Covent Garden and another Violetta with Houston Grand Opera. A reprise of Blanche in Previn's A Streetcar Named Desire took place at the Barbican Centre in London. Met performances continued in 2004, with Fleming portraying Rodelinda in Handel's opera and reprises of Rusalka and Violetta at the Met. She also sang her first Gräfin (Countess) in Capriccio at the Palais Garnier and performed in concerts with the Chicago Symphony Orchestra, the Philadelphia Orchestra, the Boston Symphony Orchestra, the Los Angeles Philharmonic, and the Toronto Symphony Orchestra among others.
The 2008/09 season resulted in Fleming singing Desdemona and Thais at the Metropolitan Opera, the Gräfin in Capriccio at the Vienna State Opera, Tatyana at the Tanglewood Music Festival, and Lucrezia Borgia"Coming Full Circle" in The Washington Blade at the Washington National Opera. Fleming, 2009 In 2009, Fleming premiered the complete version of Le temps l'horloge by Henri Dutilleux. She sang Violetta at Covent Garden and Rusalka at the Metropolitan Opera, the Marschallin at the Baden-Baden Festival, the Théâtre des Champs-Élysées and the Metropolitan Opera. She sang a variety of short pieces at Napa Valley's Festival del Sole in California.
Swedish Kille deck from 1897. The earliest reference to the game dates to 1490 France where it was known by the name of Mécontent (Malcontent) and was played with a standard 52-card deck. Such a game is still played today in France as Coucou ("cuckoo") and also in English speaking countries as Cuckoo or Ranter-Go- Round. The earliest reference of Malcontento in Italy dates from 1547 (“Capriccio in laude del Malcontento” by Luigi Tansillo of Naples). It was in the early 18th century that the first dedicated decks for Cuccu (or Cucco, or Cucu’, or Stu) appeared which consisted of 38 cards.
For Opera de Lyon he has sung Gianni Schicchi, Il Tabarro and The Cunning Little Vixen For English National Opera Evans has sung Alfredo in La Traviata, Spoletta and Cavaradossi in Tosca, and Second Jew in Salome. For Opera North he has appeared as Fenton in Falstaff, Prunier in La Rondine and Paulino in The Secret Marriage. For Scottish Opera his roles include Tamino in Die Zauberflöte and the Italian Tenor in Der Rosenkavalier. For Grange Park Opera he has performed the roles of Trufaldino The Love for Three Oranges the Italian Tenor Capriccio the Schoolmaster in The Cunning Little Vixen and Harry in La Fanciulla del West.
She appeared at the Salzburg Festival from 1974 to 1995, in parts such as the Zweite Dame in Mozart's Die Zauberflöte, the composer in Ariadne auf Naxos by Richard Strauss (1979–82), Clairon in his Capriccio (1985–87), Cherubino in Mozart's Le nozze di Figaro (1980), Idamante in his Idomeneo (1983–84), Meg Page in Verdi's Falstaff (1991) and Marcellina in Le nozze di Figaro (1995). Schmidt's stage presence was praised, in roles such as the Kostelnička in Janáček Jenůfa and Carlotta in Schreker's Die Gezeichneten. She sang the part of the Marchesa in the premiere of Manfred Trojahn's Enrico at the Schwetzingen Festival in 1991.
Her Carnegie Hall debut was on June 4, 2007 as Zanetto by Pietro Mascagni. She created the role of Donna Maria d'Avalos in the opera Gesualdo by Alfred Schnittke in the Vienna State Opera. 1987 saw her as Orfeo, in Orfeo ed Euridice directed by Peter Werhahn, for which she won the O.E. Hasse-Preis for best young artist in Germany. Other roles she has performed on stage include Amneris in Aida, Charlotte in Werther, Clairon in Capriccio, Concepcion in L'heure espagnole, Dalila in Samson et Dalila, Geschwitz in Lulu, Herodias in Salome, Jocasta in Oedipus rex, Kundry in Parsifal, Laura in La Gioconda, and Venus in Tannhäuser.
She married the Austrian conductor Clemens Krauss in Frankfurt during her time there. She was Richard Strauss's favorite soprano, and he called her ("the most faithful of all the faithful"). She sang in the world premieres of four of his operas: Arabella (1933), Friedenstag (which was dedicated to Ursuleac and Krauss, 1938), Capriccio (1942), and the public dress-rehearsal of Die Liebe der Danae (1944). She appeared at the Salzburg Festival (1930–34 and 1942–43) and in one season at Covent Garden (1934) where she sang in the first performances in England of Jaromír Weinberger's Schwanda the Bagpiper and Arabella (her favorite role).
The piano version is less recorded. The original performers Yevgeny Nesterenko and Yevgeny Shenderovich made the first recording for Melodiya. Later recordings include Fyodor Kuznetsov, Yuri Serov (Delos), and John Shirley-Quirk. The orchestral version, Op. 145a, has been recorded several times, including the first by Yevgeny Nesterenko, with the USSR State TV and Radio Symphony Orchestra, under Maxim Shostakovich (Melodiya С10-07395-6), then Anatoli Kotcherga, Kölner Rundfunk-Sinfonie-Orchester, Michail Jurowski (Capriccio), Robert Holl with the Orchestre National des Pays de Loire, Isaac Karabtchevsky (Calliope), Hermann Christian Polster with the Berlin Radio Symphony Orchestra, Thomas Sanderling (Berlin Classics), Ildar Abdrazakov, with the BBC Philharmonic, under Gianandrea Noseda (Chandos).
The opening aria, Dalle piu alte sfere, is believed to be by Emilio de' Cavalieri (Palisca, Norton Anthology of Music), although it is sometimes attributed to Antonio Archilei, whose wife Vittoria had sung it in the role of Armonia in the 1589 production. The intermedi have been played by the Huelgas Ensemble, in 1998; by the Hollands Vocaal Ensemble, in 2003; by the Capriccio Stravagante Renaissance Orchestra, in 2007; and, in selections, by Consort Astræa, in 2009. A staged version was mounted in 1989 in Minneapolis by the Ex Machina Baroque Opera Ensemble. In 2014 the Texas Early Music Project, in Austin, gave the first U.S. performance of the 21st century.
From 2012-2014 he was a member of the Jette Parker Young Artists Programme at the Royal Opera House, Covent Garden, London. With The Royal Opera, Butt Philip has sung First Chevalier/Master of Ceremonies in Robert le diable, Abdallo in Nabucco, First Man in Armour in Die Zauberflöte, Master of Ceremonies in Gloriana. He sang the role of Pang in Puccini's Turandot in 2014, Servant in Capriccio, Apparition of a Youth in Die Frau Ohne Schatten and Commissary in Dialogues des Carmelites. He sang Rodolfo in La Bohème with English National Opera at the London Coliseum in Autumn 2014 and with English Touring Opera in Spring 2015.
Melharmonic compositions employ a diverse forms, some of which are original. They also employ musical forms of Western classical such as daprice,Capriccio (music) étude and concerto for various instruments and also forms like geetam and krti (also spelt as kriti), which are used in Indian Carnatic music. They often showcase ragas novel to Western audiences and often feature inventive rhythmic cadences,cadence (music) mathematical codas and embedded sequences suggestive of melodic improvisation. Melharmonic arrangements of traditional Indian composers including Tyagaraja, Oottukkadu Venkata Kavi and Muthuswami Dikshitar have been performed by various professional symphonies & chamber orchestras, string orchestras, quartets and quintets ensembles as well as Jazz, Rock & world music groups.
In Palestine, Sternberg's compositional expression returned to nostalgic Romanticism in his large-scale orchestral works while simultaneously preserving a more modern harmonic vocabulary in his piano and chamber music compositions. For example, his symphonic variations Shneim-Asar Shivtei Yisrael (‘The Twelve Tribes of Israel’, 1938), reflects the powerful rhetoric of late Romanticism with obvious influences from Brahms, Max Reger and Richard Strauss. The work was the first large-scale orchestral composition written in Palestine. His Capriccio for piano, a concise illustration of his style, displays a contrapuntal elaboration of two brief motifs in sonata-rondo form, with the movement's harmonic orientation stated by the two opening chords.
87 He left behind several calligraphed manuscripts of his lifelong poetry (most of it previously unpublished), including a notebook carrying the title Quasi. In a memoir written during or shortly after World War I, literary historian Tudor Vianu, who noted having "read and admired" Iacobescu while he was still alive, reviewed these unpublished pieces, and argued that their title probably alluded to an "indecisive atmosphere" to be discerned in Iacobescu's creative process.Vianu, p.86-87 The notebooks included Iacobescu's first mention of being bedridden, with Zile de vară ("Summer Days", dated August 6, 1913), as well as his last known work in verse, Capriccio-Fantazie (August 13).
The king died in 1837, and Cramer continued as Master of the Queen's Musick to Queen Victoria. He did not contribute any music to her coronation, leading The Spectator to complain that he had been allowed "to proclaim to the world his inability to discharge the first, and the most grateful duty of his office — the composition of a Coronation Anthem".The Spectator Archive - 11 AUGUST 1838, Page 13 - METROPOLITAN LIBRARY OF MUSIC He died in 1848 aged 76, and was succeeded by George Frederick Anderson. The only composition of Cramer's that has survived is a Capriccio (Album Leaf) for violin, which is in manuscript in the British Museum.
Another popular piece by Janáček, Capriccio, employs a prominent euphonium part throughout. Today, all of these parts are customarily played on euphonium, and in each of these cases, the instrument called for is used in both a soloistic role and written to function as part of the brass section. In addition, a number of British composers in the pre-World War II era, including Ralph Vaughan Williams, Percy Grainger, and Arnold Bax, wrote orchestral pieces with two tuba parts, understanding that the first part would be played on euphonium. Finally, there are several orchestral pieces – though none in the standard repertoire – in which the composer specifically calls for a euphonium.
Major roles have included Verdi characters Simon Boccanegra, Rigoletto, Macbeth, Amonasro in Aida and Jago in Otello, Wagner roles Holländer and Amfortas in Parsifal, the Strauss roles Orest in Elektra and Barak in Die Frau ohne Schatten, and Dr. Schön in Alban Berg's Lulu. Grundheber made his debut at the Wiener Staatsoper on 11 December 1976 in the title role of Mozart's Le nozze di Figaro, and in 1983 performed Mandryka in Arabella by Richard Strauss. In 1985, Grundheber appeared as Olivier in Capriccio at the Salzburg Festival. In 1986, he performed in Brussels for the first time the title role of Berg's Wozzeck, staged by Gerard Mortier.
The Four Pieces for Piano were published in 1892 and 1893 along with three other collections of smaller piano pieces: Seven Fantasias Op. 116, Three Intermezzos Op. 117, and Six Pieces for Piano Op. 118\. Each of the first three pieces is called an intermezzo, and the last a rhapsody (the German spelling Rhapsodie is also common in English publications). The fact that Brahms originally intended the title ‘Capriccio’ for his earlier Rhapsody, Op. 79, No. 1, suggests that he used such terms rather loosely. ‘Intermezzo’ can be seen as an umbrella term under which Brahms could collect anything which he regarded as neither capricious nor passionate.
Gritton was born in Reigate, Surrey. She was educated at the University of Oxford and the University of London, where she studied Botany. On the operatic stage, her roles include Ellen Orford Peter Grimes (La Scala, Sydney & Tokyo); Blanche Dialogues des Carmélites (Bayerische Staatsoper); Countess Madeleine Capriccio and Tatyana Eugene Onegin (Grange Park); Micaela Carmen and Liù Turandot (Covent Garden); Donna Anna Don Giovanni (Bolshoi & Opera de Montreal & Scottish Opera); Elettra Idomeneo (Netherlands Opera) and Konstanze Die Entführung aus dem Serail (Deutsche Staatsoper & Bayerische Staatsoper). Title roles include Theodora (Glyndebourne); Rodelinda (Bayerische Staatsoper); The Bartered Bride (Covent Garden) and The Cunning Little Vixen (ENO).
In 1944, he and his wife were arrested in Vienna, Austria, while on their way to Paris. They were held under house arrest, or according to some sources, sent to Mariapfarr concentration camp, until the end of World War II. After the Second World War, he conducted mostly in Italy, notably at La Scala in Milan (1947–52; his first appearance there was in Samson et Dalila). In Italy, too, he conducted several local premieres such as Capriccio in Genoa, Mazeppa and The Maid of Orleans in Florence. He championed the new opera I due timidi by Nino Rota (better known as a composer of numerous film scores).
In 2002, 2004 and 2007, the orchestra won the Fryderyk Awards for Album of the Year - Archival Recording for Polish Conductors: Jan Krenz, Polish Conductors: Grzegorz Fitelberg and Polish Conductors: Henryk Czyż respectively. A record for DUX with works of Krzysztof Penderecki (Capriccio for violin and orchestra, De natura sonoris no. 2 for the piano and orchestra, Resurrection) with participation of NOSPR as well as soloists Beata Bilińska and Patrycja Piekutowska conducted by the composer received prestigious MIDEM Classical Award 2008 in the category of Contemporary Music. In 2017, the orchestra received the ICMA Award in the best collection category for Szymanowski: Overture op.
Hollmann premiered the Capriccio in Prague on 2 March 1928, with members of the Czech Philharmonic under Jaroslav Řídký.Nigel Simeone et al, Janacek’s worksJanáček for Piano and Wind Ensemble Meanwhile, Erwin Schulhoff had written his Suite No. 3 for piano left-hand, in five movements, for Hollmann, who premiered it in Belgrade, Yugoslavia, in November 1927.Donald L Patterson, One handed; A Guide to Piano Music for One Hand Bohuslav Martinů's Divertimento (Concertino) in G for piano left-hand and small orchestra was written for Hollmann in 1926-28. Josef Bohuslav Foerster wrote his Notturno and Fantastico, Op. 142 for Hollmann (written 1930s, published 1945).
Her first appearance in the title role in Arabella was at the Houston Grand Opera in 1977, followed by the roles of the Marschallin in Der Rosenkavalier and the Countess in Capriccio. Many performances were given under the baton of Georg Solti and it was with him that in 1981 she made a recording of The Marriage of Figaro. In later parts of her career, her appearances onstage became infrequent, although she remained busy as a concert singer. She appeared in performances in Samuel Barber's Vanessa in Monte Carlo (televised in 2001), with the Washington National Opera (2002), and the Los Angeles Opera in November to December 2004.
In spring 2009 he received dazzling reviews for his interpretation of the role of Loge in Das Rheingold, a part usually sung by a tenor. Apart from his engagement at Wiener Staatsoper, Adrian Eröd has sung with the Vienna Chamber Opera, the Mozart Festival in Schönbrunn, the New Opera in Vienna, Bregenz Landestheater, Landestheater in Linz, the Salzburger Landestheater and at Sommerfestival KlangBogen Wien. At Linz Landestheater, where he was employed 1997, he sang Figaro (Rossini: Il barbiere di Siviglia), Dandini (Rossini: La Cenerentola), Marcello (Puccini: La Bohème), Pelléas (Debussy: Pelléas et Mélisande) and Olivier (Strauss: Capriccio). Between 2000 and 2003 he was an ensemble member of the Vienna Volksoper.
The fourth movement (an intermezzo) of Robert Schumann's Faschingsschwank aus Wien, is a constructed to feature prominent notes of the melody a minor ninth above the accompaniment: Schumann, Faschingsschwank Intermezzo, bars 1-4 Alexander Scriabin's Piano Sonata No. 9, 'Black Mass' is based around the interval of a minor ninth, creating an uncomfortable and harsh sound. Several of Igor Stravinsky's works open with a striking gesture that includes the interval of a minor 9th, either as a chord: Les Noces (1923) and Threni (1958); or as an upward melodic leap: Capriccio for Piano and Orchestra (1929), Symphony in Three Movements (1946), and Movements for Piano and Orchestra (1960).
Strauss described her as "very complex, very feminine, a little perverse, a little coquettish, never like herself, at every minute different from how she had been a moment before". However, the marriage was happy and she was a great source of inspiration to her husband in works up to and including the Four Last Songs. In particular, Strauss portrayed de Ahna both as the hero's companion in Ein Heldenleben and in several sections of Symphonia Domestica. Strauss's opera Intermezzo (Dresden, 1924) provides a thinly veiled portrait of their marriage, and Strauss credited his wife's voice as a muse for the roles Salome and the Countess Madeleine in Capriccio.
He returned to Montreal for a few months in 1933 during which time he performed a concert of contemporary French music at the Stella Theatre (now the Théâtre du Rideau Vert). He returned to the city again to perform Felix Mendelssohn's Capriccio brilliant in B minor for the inaugural performance of the Montreal Symphony Orchestra on 14 January 1935. In 1934 he gave a recital tour in the United States and in 1936 he gave recitals in Spain and Morocco. Morin moved backed to Montreal in 1936 to join the faculty of the École de musique Vincent-d'Indy where he taught until his death in 1941 in an automobile accident in the Laurentians.
Returning to Barcelona Andreu made one of the world's largest enamels, the triptych "L'Orb" using contemporary enamelling techniques of the day. He left Spain for Paris, with his wife Philomene ("Filo") Stes, he became involved in stage design; he carried out works such as Voleur d'Images, Sonatina for the Opéra-Comique in 1929, La guerre de Troie n'aura pas lieu for Louis Jouvet's Théâtre de l'Athénée (1935). For the Ballet Russe de Monte Carlo he designed costumes and sets for Capriccio Espagnol, which premiered in Monte Carlo in 1939. He designed costumes for the 20th Century Fox film That Lady (1955, starring Olivia de Havilland and Paul Scofield) and the short ballet film Spanish Fiesta (1942).
At the request of (from Princess Household Appliances), he worked with the famous Master Chef Cas Spijkers fifteen times in Hong Kong. They travelled the world over (Curacao, Chicago, China, Japan, Malaysia) and made various television recordings including ‘The Big Buffet Show’ in Singapore. In Shanghai Eyk in 2005 made videos for his children's hits (‘Op een onbewoond eiland’-On a desert island and Ik heb zo waanzinnig gedroomd- I had such a crazy dream’. These numbers were even sung in Chinese by the Shanghai TV children's choir. In 2011, his composition ‘Capriccio' for Strings was performed by The Fancy Fiddlers and in St. Petersburg by the St.Petersburg Chamber Orchestra 'Carpe Diem'.
Washington Post Tyl had retired from the opera stage by the late 1970s and returned to public relations after founding the Washington, D.C. based firm Tyl Associates.McLellan, Joseph (August 29, 1987). "Tyl's Return, With Skill". Washington Post However, he came out of retirement in 1981 to appear in two productions (Madama Butterfly and Semele) with Washington Opera and in 1987 sang in a live German radio broadcast of Kurt Weill's cantata, Ballad of the Magna Carta.The performance of Ballad of the Magna Carta (and Weill's Der Lindberghflug from the same broadcast) were later released on cd (Capriccio Records 60012) Earlier in 1987, he had given a benefit solo recital for the McLean Choral Society.
At Covent Garden, Rendall sang the roles of the Italian singer in Der Rosenkavalier, Almaviva in The Barber of Seville, Des Grieux in Manon, Matteo in Arabella, Rodrigo in La donna del lago, Flamand in Capriccio, and the Duke in Rigoletto. After making his Metropolitan Opera debut in 1980 as Ernesto in Don Pasquale, he returned as Don Ottavio in Don Giovanni,"Today: Leading Events The Week's Concert" The New York Times, 16 March 1980, at D41. subsequently performing Lensky in Eugene Onegin,Lloyd Schwartz, "Stars are born", Boston Phoenix, 30 April 1985. Matteo in Arabella,John Rockwell, Opera: "Arabella" in Season's Debut at the Met, The New York Times, 22 February 1984.
Capriccio of a colonnaded courtyard Jacobus Ferdinandus Saey was in his subject matter influenced by his teacher Wilhelm Schubert van Ehrenberg who mainly painted architectural scenes of real and imaginary churches, Renaissance palaces and picture galleries.Jacobus Ferdinandus Saey, A Classical Portico with an Elegant Company Gathered by a Fountain at Sotheby’s Unlike his master, who occasionally painted the interiors of real existing buildings, Saey mostly concentrated on imaginary structures and outdoor settings with elegant companies congregating in an informal manner. Saey was particularly skilled in the use of perspective and the realistic rendering of different materials, in particular the marble of columns. Characteristics of his work are the recurring checkered floors and his dramatic use of light.
The University of Wisconsin's Messenger magazine described Baskin's book-making creative process, prior to the traveling exhibition Poets at Gehenna: 1959-1995 that was scheduled to visit the UW-Madison libraries in January 1997: > Traditionally, artists provide images for existing poems. For the Gehenna > Press, poets work from Baskin's original prints or drawings. The monumental > Capriccio with poems by Ted Hughes, Sibyls by Ruth Fainlight, and the most > recent book of the press, Presumptions of Death by Anthony Hecht, have all > come from this atypical approach. Other featured books and broadsides > include: Hugh MacDiarmid's Eemis Stane, Anthony Hecht's The Seven Deadly > Sins, Ted Hughes's A Primer of Birds and Moko Maki, and James Baldwin's > Gypsy.
It is unclear whether he made use of a rudimentary wah-wah pedal, a "singin' guitar" device like Alvino Rey, or simply a vibrato-bar to achieve that effect, which astonished Italian audiences with its novelty. His other well-known songs include "Via Montenapoleone", a song about one of the most renowned streets of Milan, "Tre numeri al lotto", "Mia cara Carolina" and "Capriccio". In the 1960s he decided to dedicate himself to astrology and started to contribute horoscopes to Italian newspapers and magazines while continuing to make recordings. He opened the Amsterdam 19 night club in Galleria Passarella in Milan (to which city he had moved from Naples) where he often performed as a singer and guitarist.
Born in Godiasco, Cagnoni first studied music composition privately in Voghera. He then studied at the Milan Conservatory where his first three operas, Rosalia di San Miniato (1845), I due savoiardi (1846), and Don Bucefalo, were premiered while he was a student. The latter work was particularly well received and enjoyed successful stagings at the Teatro Nacional de São Carlos (1850), Teatro di San Carlo (1853), the Teatro della Canobbiana (1854), and the Teatro Regio di Parma (1860) among others. He went on to compose 16 more operas and a pastiche, of which his most successful were Michele Perrin (1864), Claudia (1866), Un capriccio di donna (1870), Papà Martin (1871), and Francesca da Rimini (1878).
Codazzi was an important inventor of the genre. Alessandro Salucci was a prominent contemporary practitioner of the genre whose work was influenced by Codazzi.Alessandro Salucci (Florence 1590–1655/60 Rome) and Jan Miel (Beveren-Waes 1599–1664 Turin), An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay at Christie's A contemporary practitioner in Naples was Gennaro Greco.Gennaro Greco, View of Vesuvius from the harbour mole at Naples with bystanders at Dorotheum Vienna on 17 October 2012 lot 841 Portico with loggia by the sea, with boats and figures Luciano's work was originally very close to that of his presumed master Codazzi.
She made her debut in 1975 as Pamina in Mozart's The Magic Flute at the English National Opera. In 1976 she appeared in the premiere of Henze's We Come to the River at the Royal Opera House Covent Garden and began a long relationship with the Glyndebourne Festival. She has been associated with the works of Richard Strauss including various lieder, the Four Last Songs and the roles of the Marschallin in Der Rosenkavalier and the Countess in Capriccio. She has also appeared in operettas, singing the title role in Franz Lehár's The Merry Widow at Glyndebourne, as well as Rosalinde in Die Fledermaus and the title roles in Offenbach's La belle Hélène and La Grande-Duchesse de Gérolstein.
Berberian made his debut in 1958 with the Turnau Opera in Woodstock, New York, as Don Magnifico in Rossini's La Cenerentola. In 1963 he was promoted from the chorus to singing roles with the NYCO, beginning with Leandro in The Love for Three Oranges in April of that year. He sang several more roles with NYCO through 1967, including Collatinus in The Rape of Lucretia, the Commandant in Don Giovanni, the Major-Domo in Capriccio, Osmin in Mozart's Abduction from the Seraglio, and Tiresias in Oedipus rex among others. He later returned to the NYCO in 1977 to create the role of Gene Henderson in the world premiere in Leon Kirchner's Lily.
Conal has performed in Le nozze di Figaro, Così fan tutte, Il Seraglio, Die Zauberflöte, Don Giovanni, Don Carlo, Falstaff, I vespri siciliani, Aida, Rigoletto, Billy Budd, Peter Grimes, The Rape of Lucretia, A Midsummernight's Dream, Let's Make an Opera, Albert Herring, La damnation de Faust, Fidelio, The Barber of Seville, L'heure espagnole, Lucia di Lammermoor, Don Pasquale, L'elisir d'amore, L'italiana in Algeri, Il turco in Italia, The Queen of Spades, La Bohème, Il ritorno d'Ulisse in patria, Norma, Katya Kabanova, Roméo et Juliette, Manon, Mignon, Manon Lescaut, Cendrillon, Fra Diavolo, Der Rosenkavalier, Lulu, Arabella, Ariadne auf Naxos, Capriccio, Lohengrin, Die Walküre, Gianni Schicchi, Die Meistersinger, The Mikado, The Pirates of Penzance, The Bartered Bride.
Guest performances took her to the opera houses of Washington, D.C. and the Teatro Lirico Giuseppe Verdi, among others. Roles in Ludwig's repertoire were Dorabella in Mozart's Così fan tutte, Orfeo in Gluck's Orfeo ed Euridice, Cherubino in Mozart's Le nozze di Figaro, Ortrud in Wagner's Lohengrin, Brangäne in Tristan und Isolde, Kundry in Parsifal, Clairon in Capriccio by Richard Strauss, Baroness Grünwiesel in Henze's Der junge Lord, Eboli in Verdi's Don Carlos, the title role in Bizet's Carmen, and Nicklausse in Offenbach's Hoffmann's Erzählungen. In concert, she sang the alto solo in Mozart's Requiem at the Salzburg Festival in 1963. She was known as a lieder singer worldwide, touring the Americas and Japan and other parts of Asia.
She performed in world premieres, in Hans Stieber's Der Eulenspiegel in Leipzig in 1936, Julius Weismann's Die pfiffige Magd in 1939, the title role of Winfried Zillig's Die Windsbraut in 1941, as an Italian singer in Capriccio by Richard Strauss in 1942, and in Boris Blacher's Preußisches Märchen at the Berlin State Opera in 1952. She appeared at the Salzburg Festival from 1939, as Blonde in Die Entführung aus dem Serail, Susanna in Mozart's Le nozze di Figaro in 1942, and Pamina in Zauberflöte in 1943, when she also sang the soprano solo in Beethoven's Ninth Symphony. Beilke was also a concert singer and was engaged for roles in music films. Many of her performances were recorded on vinyl.
Franz Klarwein (8 March 1914 – 16 December 1991) was a German operatic lyric tenor and later character tenor. He was a member of the Bavarian State Opera from 1942 to 1977 and also appeared at international opera houses and festivals, especially in roles by Richard Strauss. Scheduled to sing in the 1944 world premiere of Die Liebe der Danae at the Salzburg Festival, which did not take place, he performed in both the English premiere at the Royal Opera House in London and the Swiss premiere at the Opernhaus Zürich. He sang in world premieres such as Capriccio in 1942, Hindemith's Die Harmonie der Welt in 1957, and Ján Cikker's Das Spiel von Liebe und Tod in 1969.
It was important to him to sing the title role of Palestrina, the opera by Hans Pfitzner, not only in Munich but also in East Berlin -- a controversial issue at the time in East Germany. Schreier was one of few singers from the German Democratic Republic to perform internationally, including at the Metropolitan Opera. He appeared regularly at the Vienna State Opera, where he sang 200 performances, beginning as Tamino in 1967, also as Belmonte, Don Ottavio in Mozart's Don Giovanni, the title role of Idomeneo, Flamand in Capriccio by Richard Strauss, Lenski in Tchaikovsky's Eugen Onegin, Count Almaviva in Rossini's Il barbiere di Siviglia and Loge in Wagner's Das Rheingold. His Wagner roles also included Mime in Siegfried.
His principal work in this field was undoubtedly as conductor for nearly forty years of the William Byrd Singers of Manchester, becoming a much-admired figure on the Manchester music scene (described by Robert Beale of the Manchester Evening News as "one of the most extraordinary men I have ever met"). Under his direction they also gained a string of commissions, foreign tours and festival appearances to their credit. Wilkinson retired as conductor of the William Byrd Singers in May 2009 at the age of 90. In 1991, observing that there was no training orchestra in the Manchester area, Wilkinson founded a companion young string ensemble, Capriccio, as a springboard for the National Youth Orchestra.
After his graduation from the State Academy in Music in 1957 in the classes of composition of Pancho Vladigerov and conducting of Vladi Simeonov, Kazandjiev is active as conductor at the Sofia Opera, and since 1962 to 1978 as founder and director of the Sofia Soloists Chamber Ensemble, as well as director of the Symphony Orchestra of the Bulgarian National Radio (1979–1993). Since 1985 he is professor in conducting at the National Academy of Music - Sofia and since 2009 he is elected Academician in the Bulgarian Academy of Sciences. Vassil Kazandjiev has been recognized as one of the outstanding Bulgarian composers and conductors of our day. Kazandjiev realised numerous recordings in Asv Living, Balkanton, Capriccio, Capriole, Centaur, Cobra Entertainment LLC, Delta, Era, Gega new, labels.
These traits are found, for example, in his Second Wind Quintet of 1966 and Third String Quartet of 1978 (Boronkay and Willson 2001). The movements in such works are often linked by improvisatory solo interludes, as in the Second String Quartet of 1966 . Although Láng also worked briefly with electronic music as early as 1974 (Surface Metamorphoses), he turned seriously to this medium beginning only in the late 1990s, for example Esteledés (Nightfall, 1997), which uses live electronics to manipulate sounds of a trumpet and Korean bell . More recent works with electronics are the Capriccio metronomico for tape (2001), and the Third Chamber Cantata, "No Man Is an Island", to words of John Donne (2001), for soprano, five instruments, and tape .
He went on to Munich and Vienna, where he recorded a magnificent version of Goldmark's Rustic Wedding Symphony with the Vienna Philharmonic; and then to Berlin (1933-1950), where a live wartime Lohengrin was preserved and afterwards issued on LP, after which he returned again to Munich. In 1932 he conducted the Vienna Symphony Orchestra and one-armed pianist Paul Wittgenstein in the world premiere of Maurice Ravel's Piano Concerto for the Left Hand, after Arturo Toscanini had declined Ravel's invitation to conduct the premiere. In 1937, Heger joined the Nazi Party. Heger conducted at the Royal Opera House, Covent Garden, from 1925 to 1935, and again with his Munich company in 1953, when he gave the first London performance of Richard Strauss's opera Capriccio.
The swaggering march 'Unter'n Linden, Unter'n Linden gehen spaziern die Mägdelein' (describing Berlin's famous thoroughfare, Unter den Linden) has become one of the best-loved of songs representing the capital. It has been recorded by a number of singers including Marlene Dietrich (Marlene Dietrich's Berlin, Capitol Records LP ST 10443 and Marlene Dietrich singt Alt-Berliner Lieder LP AMIGA 8 45 009) and Hermann Prey (Ich sing mein schonstes Lied (vocal recital), Capriccio CD C10289). The popular song 'Kind, ich schlafe so schlecht' ('Child, I slept so badly') was recorded on 78 with the tenor Max KuttnerGerman Wikipedia article on Kuttner and the soprano 'Lucie Bernardo' (Johanna Sandfuchs), and also more recently by Kollo's grandson René Kollo (on René Kollo sings Kollo, 2009, CD EMI).
Heinrich Ignaz Franz Biber introduced noises into string music for programmatic effects Percussive effects in imitation of drumming had been introduced to bowed-string instruments by early in the 17th century. The earliest known use of col legno (tapping on the strings with the back of the bow) is found in Tobias Hume's First Part of Ayres for unaccompanied viola da gamba (1605), in a piece titled Harke, Harke.Walls 2001, §2 xi. Carlo Farina, an Italian violinist active in Germany, also used col legno to mimic the sound of a drum in his Capriccio stravagante for four stringed instruments (1627), where he also used devices such as glissando, tremolo, pizzicato, and sul ponticello to imitate the noises of barnyard animals (cat, dog, chicken).
The painting measures . It is a capriccio inspired by Church's travels to Europe and the Middle East from 1867 to 1869. The composite image includes elements from sketches that Church made in different locations, including a rock-cut entrance from Petra in a cliff to the left, fallen capitals from the Temple of Bacchus at Baalbek in the lower left, Roman columns from Syria to the right, and in the distance across a body of water lie classical ruins that resemble the Acropolis of Athens or the in Ancient Corinth, and the dome and minaret of a mosque from Istanbul. In the foreground are three small human figures in conversation beside a road based on an oil study of three Bedouins.
In 1885, disgusted with the quality of music publishing in Russia and the lack of foreign copyright for works printed there, he founded his own publishing firm in Leipzig, Germany. This firm initially issued works by Glazunov, Rimsky-Korsakov, Lyadov and Borodin at its own expense, and would boast a catalog of over 2000 works, all written by Russian composers, by the time of the October Revolution in 1917. At Rimsky-Korsakov's suggestion, Belyayev also founded his own concert series, the Russian Symphony Concerts, open exclusively to Russian composers. Among the works written especially for this series were the three by Rimsky- Korsakov for which he is currently best known in the West—Scheherazade, the Russian Easter Festival Overture and Capriccio Espagnol.
Also in 1641, the Barberini were embroiled in the Wars of Castro, and Marazzoli set the events of the battle fought by Taddeo Barberini and Luigi Mattei in October 1641 to music in Le pretensioni del Tebro e del Po, probably composed late in 1641. Marazzoli's L'Armida was performed in a revised version in January 1642 at a celebratory fete. At Carnival in 1642, Marazzoli had another opera performed, Gli amori di Giasone e d'Isifile; following this, Marazzoli returned to Ferrara and directed another performance of Le pretensioni to celebrate Taddeo Barberini's return to the city in March 1642. Returning to Rome by midyear, Marazzoli composed the opera Il giudito della ragione tra la Beltà e l'Affetto (or Il Capriccio), which was first given at Carnival 1643.
In 1918 Messager conducted recordings in New York, with the Orchestre de la Société des Concerts du Conservatoire, of Les Chasseresses and Cortège de Bacchus from Sylvia by Delibes, Sérénade and Mules from Impressions d'Italie by Charpentier, the Bacchanale from Samson et Dalila and the Prelude to Le Déluge, both by Saint-Saëns, and 4½-minute extracts from Capriccio espagnol by Rimsky-Korsakov and Le Rouet d'Omphale by Saint-Saëns.Holoman, D. Kern. Société des Concerts du Conservatoire , Appendix 5: Discography, University of California Press, accessed 15 March 2018 In Wagstaff's 1991 study of Messager, the list of recordings of the composer's music runs to 40 pages; 24 of his works are represented in the list of recordings up to that date.Wagstaff, pp.
The Royal Conservatory of Music Azarkhin's repertoire of more than 200 works is unique. It features numerous arrangements of his own and transcriptions of instrumental pieces, as well as rarely performed original compositions for double bass. These include: concertos by Bach, Boccherini, Dittersdorf, Dvořák, Haendel, Haydn, Saint- Saëns, Schumann, Tubin; "Variations on a Rococo theme" by Tchaikovsky, Partita No.2 by Bach (with Chaconne); and sonatas by Beethoven ("Kreutzer-Sonate"), Boccherini, Brahms, Franck, Grieg, Hindemith, Kabalevsky, Rachmaninov, Schubert, and "Moses" by Paganini, and "Introduction and rondo-capriccio" by Saint-Saëns. Performance of these works, use of new performing techniques, and new timbre colours allowed Azarkhin to extend considerably the conventional idea about the artistic potential of the double bass as a solo instrument.
If a string player has to play pizzicato for a long period of time, the performer may put down the bow. Violinists and violists may also hold the instrument in the "banjo position" (resting horizontally on the lap), and pluck the strings with the thumb of the right hand. This technique is rarely used, and usually only in movements which are pizzicato throughout. A technique similar to this, where the strings are actually strummed like a guitar, is called for in the 4th movement of Rimsky- Korsakov's Capriccio Espagnol (Scena e canto gitano), where the violins, violas and cellos are instructed to play pizzicato "quasi guitara", the music here consists of three- and four-note chords, which are fingered and strummed much like the instrument being imitated.
"William Walton", The Musical Times, December 1944, p. 368 Walton's post-war works in this genre are the Johannesburg Festival Overture (1956), the "diverting but hard-edged Capriccio burlesco" (1968), and the longer Partita (1957), written for the Cleveland Orchestra, described by Grove as "an impressively concentrated score with a high-spirited finale [with] steely counterpoint and orchestral virtuosity". Walton's shorter pieces also include two tributes to musical colleagues, Variations on a Theme by Hindemith (1963) and the Improvisations on an Impromptu of Benjamin Britten (1969), in both of which the source material is gradually transformed as Walton's own voice becomes more prominent. The critic Hugh Ottaway commented that in both pieces "the interaction of two musical personalities is... fascinating".
Don Michael Randel, Belknap Press See also: Capriccio (disambiguation) ; capriccioso : Capricious, unpredictable, volatile ; cavalleresco : Chivalrous (used in Carl Nielsen's violin concerto) ; cédez (Fr.) : Yield, give way ; cesura or caesura (Lat.) : Break, stop; (i.e. a complete break in sound) (sometimes nicknamed "railroad tracks" in reference to their appearance) ; chiuso : Closed (i.e. muted by hand) (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form) ; coda : A tail (i.e. a closing section appended to a movement) ; codetta : A small coda, but usually applied to a passage appended to a section of a movement, not to a whole movement ; or : with the (col before a masculine noun, colla before a feminine noun); (see next for example) ; col legno : With the wood (i.e.
He has also played on popular rock band U2's latest album. Richard Watkins is closely associated with promoting contemporary music for horn; Sir Peter Maxwell Davies wrote 'Sea Eagle' (solo horn) for him in 1983 and since then, Richard Watkins has given the world premiere of David Matthews' 'Capriccio' in a concert at the Wigmore Hall to commemorate Dennis Brain's 70th Anniversary and Nigel Osborne's 'The Sun of Venice' with the Philharmonia. Further projects included the premiere of Colin Matthews' Horn Concerto with Esa-Pekka Salonen at the Royal Festival Hall during the 2001 season and a Horn Concerto by Sir Peter Maxwell Davies.Christina Phelps Artist Management He recorded Michael Nyman's music for La Sept with the Michael Nyman Band in 1989.
Vase in Borghese style at the gardens of Versailles The vase was rediscovered in a Roman garden that occupied part of the site of the gardens of SallustIn the garden of Carlo Muti, where it was found together with the Silenus with the Infant Bacchus, according to notes compiled by Flaminio Vacca in 1594, noted by Haskell and Penny. in 1566 and acquired by the Borghese family. Napoleon bought it from his brother-in-law Camillo Borghese in 1808, and it has been displayed in the Louvre since 1811. In his Capriccio, Hubert Robert embellished and enlarged the Borghese Vase for dramatic effect and set it, in atmospherically ruinous condition, on the Aventine overlooking the Colosseum, a position it never occupied.
''''' (First the music and then the words)Also called ' is an opera in one act by Antonio Salieri to a libretto by Giovanni Battista Casti. The work was first performed on 7 February 1786 in Vienna, following a commission by the Emperor Joseph II."Salieri: Prima la musica e poi le parole" by Jane Schatkin Hettrick at Opera Today, 19 February 2008 The opera (more specifically, a ') was first performed at one end of the orangery of the Schönbrunn Palace in Vienna by an Italian troupe; simultaneously, Mozart's Der Schauspieldirektor was staged at the other end. The title of the opera is the theme of Richard Strauss's opera Capriccio which debates the relative importance of music and drama in opera.
Z. 4756, (11 pages) ::•Dedication: Louis Theodor Grünberg ::•Duration: 4 minutes (Beaumont) :3) Giga, Bolero e Variazione ::•Composed: July 1909 (Beaumont) ::•Manuscript: Busoni Archive No. 240 (attachment) :::•Title: Variazione (Gigue - Bolero e Variazione) (d'après Mozart) :::•1 page with only 6 measures ::•Original publication: Leipzig: Jul. Heinr. Zimmermann, Copyright [1909], cat. no. Z. 4757, (11 pages) ::•Dedication: Leo Sirota ::•Duration: 4 minutes (Beaumont) :4) Introduzione e Capriccio (Paganinesco) & Epilogo ::•Composed: August 1909 (Beaumont) ::•Manuscript: unknown ::•Original publication: Leipzig: Jul. Heinr. Zimmermann, Copyright 1909, cat. no. Z. 4781, (13 pages) ::•Dedication: Louis Closson; Emile R. Blanchet (Epilogo) ::•Duration: 7 minutes (Beaumont) :•Note: Four of the dedicatees (Turczyński, Gruenberg, Sirota, Closson) were master class pupils of Busoni in Vienna, Jul 1908 (Beaumont, 1987, p.
The form of fandango has been used by many European composers, and often included in stage and instrumental works. Notable examples include J. P. Rameau's "Les trois mains" (in "Nouvelles suites de pièces de clavecin", ca. 1729–30); Fandango forms #19 in the part 2 of Gluck's ballet Don Juan (1761); in the third-act finale of Mozart's opera The Marriage of Figaro (1786); in the finale of Luigi Boccherini's String Quartet Op. 40 No. 2 (1798) and Guitar Quintet G.448; Antonio Soler's Fandango for harpsichord; and the finale of Rimsky-Korsakov's Capriccio Espagnol. Luis de Freitas Branco's third movement of his "Suite Alentejana No. 1" is inspired on the fandango of the regions of Alentejo and Ribatejo of Portugal.
Dodgson's many contributions to the recorder repertoire include "Shine and Shade", a jazzy virtuoso piece from 1975, written for one of his students, the composer Richard Harvey. Material from Dodgson's incidental music for a 1970 BBC radio production of a John Ford play, Perkin Warbeck, in which David Munrow had played the recorder enthusiastically, re-emerged in 1972 in a follow-up work called Warbeck Dances for recorder and harpsichord. His later works for the instrument include the Concerto Chacony (2000) with string orchestra, and a Capriccio Concertante No. 2 (2005) for the unusual combination of recorder, harpsichord and string orchestra. Dodgson loved the theatre and wrote both for the stage and for many BBC drama productions (see Incidental music).
303) :(c) Nach Beethoven. Presto, pp. 55-56. :::[excerpt from the fifth movement of the C-sharp minor Quartet Op. 131 (score), transcribed for piano; consists of the first 24 bars, jumps to the fermata before the "a tempo" at bar 44 and proceeds to the cadence at the beginning of the first ending at bar 65] (Sitsky, p 278) :::Beispiele: Schubert-Liszt, Das Sterbeglöcklein. ::::::[Schubert song, D.871, transcribed for solo piano] ::::::[No.3 from Liszt's Sechs Melodien (6 Melodies), S.563] :::::Liszt, Valse a capriccio sur Lucia e Parisina (Erste Fassung) [S.401] :::::Busoni, Concerto (score) :[The following sections (d) to (f) also appear in the First Edition, Part 2, Tutorial IX. A second group for tutorial VI] :(d) Perpetuum mobile et infinitum.
In 2000, he led a series of performances of Kurt Weill's 1933 bible play, The Eternal Road (') in which he and musicologist Ed Harsh restored the complete score which had never been heard with its complete fourth act and never in Europe. These performances were co-productions of the New Israeli Opera, the Chemnitz Opera in Germany and the Brooklyn Academy of Music. The work was performed in its original German text by fellow refugee Franz Werfel and televised in Europe from its Chemnitz performances. In 2001, Mauceri led the world premiere recording of Weill's early operatic success, Der Protagonist from 1926 (Capriccio 60 086) which was also broadcast on German radio in a concert performance in the Berliner Philharmonie.
In July 1729, Heinichen died and Zelenka became acting Kapellmeister, a position he occupied in an unofficial capacity until 1734. This period is known as the Interregnum, a term coined by Professor Wolfgang Horn.Horn, Wolfgang, Die Dresdner Hofkirchenmusik 1720-1745: Studien zu ihren Voraussetzungen und ihrem Repertoire, Kassel, Bärenreiter – Stuttgart, Carus, 1987, p. 89. The first work that confirms Zelenka's new status is a Sinfonia (ZWV 190, 18 May 1729, previously known as Capriccio), which, as Janice B. Stockigt has established, was performed at a Gala to celebrate the birthday of the Saxon Elector and Polish king, Augustus II the Strong.Stockigt, Janice B., On the Dresden Sources of Zelenka’s Instrumental Music, in: Das Instrumentalrepertoire der Dresdner Hofkapelle in den ersten beiden Dritteln des 18.
The following year he made his European debut as the Fisherman in Igor Stravinsky's Le Rossignol at the Teatro dell'Opera di Roma to great acclaim. He performed regularly in leading roles at the Rome Opera house for the next several years. In 1962 he made a number of appearances in opera houses in Spain and in 1963 he made his debut at the Glyndebourne Festival as the Italian singer in Richard Strauss's Capriccio. Duval had a major triumph in 1963, drawing international recognition for his lauded recording of the role of Arturo in Bellini's I puritani, opposite Joan Sutherland, after replacing Franco Corelli as a last minute substitute. In 1964 he made his United States debut with the New York City Opera as Faust.
In France he sang Verdi's Requiem at Angoulêmes, Cognac and Ruffec cathedrals (1990). Paliatsaras also presented Yiannis Markopoulos Liturgy of Orfeus in Vienna (1993), Brussels, Buenos Aires (2005), Ephesus (2004), Limassol, Athens and Ancient Marathon (2006). In the city of Thessaloniki, Paliatsaras sang Paris in Offenbach's La belle Hélène, Don Ottavio in Don Giovanni, and Le Nozze di Figaro. He recorded Monteverdi's Il Combattimento di Tancredi e Clorinda for DHM, BMG with Capriccio Stravagante, a performance that was honored with the Diapason d'Or 1992 reissued in 2004, giving a world tour in Cologne, Monaco, Paris, Normandy (1998), New York, and Seattle, U.S. At the Teatro Olympico, Vicenza, he sang the role of Apollo in Marco da Gagliano's opera La Dafne.
In 2014, Tang was commissioned by the National Arts Council and the Singapore Symphony Orchestra to write an original composition for the opening ceremony of Victoria Theatre and Concert Hall on 15 July 2014. His work "Capriccio for Orchestra" was performed under the baton of SSO Music Director Lan Shui, with Singapore's Prime Minister Lee Hsien Loong, Emeritus Senior Minister Goh Chok Tong and Cabinet Minister Lawrence Wong in attendance. In celebration of Singapore's Golden Jubilee, Tang was commissioned to compose a piano concerto for "Sing50", a performance on 7 August 2015 showcasing Singapore's rich music history. His new work "Concerto in Three Movements" was premiered by virtuoso pianist Lang Lang and the Metropolitan Festival Orchestra, under the baton of Chan Tze Law.
Some of Strauss's first compositions were solo instrumental and chamber works. These pieces include early compositions for piano solo in a conservative harmonic style, many of which are lost: two piano trios (1877 and 1878), a string quartet (1881), a piano sonata (1882), a cello sonata (1883), a piano quartet (1885), a violin sonata (1888), as well as a serenade (1882) and a longer suite (1884), both scored for double wind quintet plus two additional horns and contrabassoon. After 1890, Strauss composed very infrequently for chamber groups, his energies being almost completely absorbed with large-scale orchestral works and operas. Four of his chamber pieces are actually arrangements of portions of his operas, including the Daphne-Etude for solo violin and the String Sextet, which is the overture to his final opera Capriccio.
The German composer Walter Braunfels adapted De Coster's novel in 1910 for his second opera, the full-length Wagnerian epic Ulenspiegel, first performed at Stuttgart on 4 November 1913, revived in 2011 (Gera, Thuringia) and 2014 (EntArteOpera, Zürich - a production released on DVD in 2017 by the Capriccio record company). Wladimir Vogel was a Russian composer who wrote a drama-oratorio Thyl Claes in the late 30s or early 40s, derived from De Coster's book. The Soviet composer Nikolai Karetnikov and his librettist filmmaker Pavel Lungin adapted De Coster's novel as the samizdat opera Till Eulenspiegel (1983), which had to be recorded piece-by-piece in secret and received its premiere (1993) only after the Soviet Union collapsed. Luigi Dallapiccola drew on the novel as one source for his opera Il Prigioniero.
As the vast majority of his movies were essentially meant to showcase his performances, many have his name "Totò" in the title. Some of his best-known films are Fifa e Arena, Totò al Giro d'Italia, Totò Sceicco, Guardie e ladri, Totò e le donne, Totò Tarzan, Totò terzo uomo, Totò a colori (one of the first Italian color movies, 1952, in Ferraniacolor), I soliti ignoti, Totò, Peppino e la malafemmina, La legge è legge. Pier Paolo Pasolini's The Hawks and the Sparrows and the episode "Che cosa sono le nuvole" from Capriccio all'italiana (the latter released after his death), showed his dramatic skills. Totò in the 1930s In his vast cinematographic career, Totò had the opportunity to act side by side with virtually all major Italian actors of the time.
399 From 1963 Gutstein belonged to the ensemble of the Vienna State Opera. He performed there in almost 20 different roles in a total of 125 performances, including the Count in Mozart's Le nozze di Figaro, Bartolo in Rossini's Der Barbier von Sevilla, Telramund in Wagner's Lohengrin and Faninal in Der Rosenkavalier by Richard Strauss, considered as one of his signature roles. He also took on character parts from the German repertoire and contemporary music, including the music teacher in Ariadne auf Naxos by Richard Strauss, Doctor Schön in Alban Berg's Lulu, Alfred Ill in Gottfried von Einem's The Visit of the Old Lady, and several roles in his Der Prozeß. In the 1995/96 season, he appeared there again in two performances as theatre director La Roche in Capriccio by Richard Strauss.
During his time in Frankfurt, he began to appear regularly as a guest artist with other important opera houses in Europe. He sang at the Cologne Opera (1965-1966), Deutsche Oper am Rhein (1966-1968), La Scala (1967, as Wolfram in Tannhäuser), and the Staatsoper Stuttgart (1967-1969) among others. In 1968 Braun left Frankfurt to become a resident artist at the Bavarian State Opera where he made his debut that year as Almaviva. He remained a contracted member of that house for more than two decades, singing such roles as the Count in Capriccio, Enrico in Lucia di Lammermoor, Ford in Falstaff, Giorgio Germont in La traviata, Golaud in Pelléas et Mélisande, Marcello in La Bohème, Posa in Don Carlos, Scarpia in Tosca, and the title roles in Don Giovanni and Rigoletto among others.
Although the piano works are not the best known part of Chabrier's oeuvre, Poulenc put the cycle Pièces pittoresques on a par with Debussy's Preludes in its importance for French music.Howat, p.ix In his introduction to a 1995 edition of the piano works, Howat writes that it was Chabrier, more than any other composer, who restored to French music "the essential French traits of clarity, emotional vitality, wit and tenderness" when other French composers were under the influence of Wagner or of dry academicism. Chabrier's early works were for piano solo, and in addition to a small corpus of about twenty completed mature works, some juvenilia have survived. Most of the piano pieces were published in the composer's lifetime, but five completed works and the unfinished Capriccio (1883) were issued posthumously.
Among her roles are characters in operas by Mozart: Elettra in Idomeneo, Fiordiligi in Così fan tutte, Donna Anna in Don Giovanni, the Countess in Le nozze di Figaro. She specializes in roles by Richard Strauss: the title role in Daphne, the Marschallin in Der Rosenkavalier, the Countess in Capriccio, and the title role of Arabella, a role which she performed first at the Oper Frankfurt in 2017, and performed at the Internationale Maifestspiele Wiesbaden, directed by Uwe Eric Laufenberg and conducted by Patrick Lange. Gerard Hoffmann from Vienna said about the Frankfurt performance that Bengtsson is the quintessential Strauss interpreter, credible and expressive, with "perfect diction and graceful acting". He described her voice as "flexible, warm, rich in colours and nuances, with a slender middle range and splendid piano".
Many contemporary authors has written especially for Nardi, among them Luciano Berio, Henri Pousseur, Roman Vlad, Gwyn Pritchard, Andrea Cavallari. Fundamental were his researches on the unpublished compositions of the young Schumann. According to the original manuscripts, Nardi played for the very first time as a world premiere the Fantaisies et Finale, Variations Pathétiques, Variationen über ein Thema von Ignaz Ferdinand Freiherr von Fricken, 6 unpublished variations on a theme by Beethoven, Variation zum Preziosamarsch (Weber), Variationen zum Glöckchenthema (Paganini), Sehnsuchtswalzervariationen (Schubert), 6 Fugues, 5 Canons, 6 Waltzes, 5 Papillotten, 2 Burle, Je ne suis q’un songe, Scènes Mignonnes, Capriccio, Ecossaise, Notturnino, Ballo, Burla, Fantaisie sovra un tema di quattro note; and the first unpublished versions of Quasi Variazioni, Sonata in sol minore, Papillons, Variations on the name "Abegg", Phantasiestücke op. 111.
Plates 65 to 82 were named "caprichos enfáticos" ("emphatic caprices") in the original series title."Caprichos enfáticos" is difficult to translate; in the 18th century language of rhetoric, "emphatic" suggests that these prints "make a point or give a warning by insinuation rather than by direct statement"—Wilson-Bareau, 59, quoting from an undisclosed source. Wilson-Bareau adds that "enfáticos" is also often translated as "striking". In talking about art, "Caprice", usually found today as the original Italian capriccio, normally suggests light-hearted fantasy, which does not characterise these prints or Los Caprichos Completed between 1813 and 1820 and spanning Ferdinand VII's fall and return to power, they consist of allegorical scenes that critique post-war Spanish politics, including the Inquisition and the then-common judicial practice of torture.
A year after the seizure of power by the Nazis in Germany, Jewish librettist Stefan Zweig fled to London, leaving Richard Strauss to look for a new librettist. Originally recommended by Zweig, Joseph Gregor wrote three librettos for Richard Strauss: Friedenstag (1938), Daphne (1938) and Die Liebe der Danae (1944), as well as contributing to the texts of Capriccio (1942) and the posthumous school opera Des Esels Schatten. Never completely convinced by Gregor as a librettist, Strauss rejected his drafts for three other works: Celestina, Semiramis and Die Rache der Aphrodite. After completion of Danae's score, Strauss was planning in 1940, at the suggestion of Heinz Drewes and Hans Joachim Moser, to collaborate with Gregor to rework the libretto of the opera Jessonda (music: Louis Spohr, libretto: Edward Henry Go ).
This type of decorative architectural paintings are a form that became popular in mid-17th-century Rome.Alessandro Salucci (Florence 1590–1655/60 Rome) and Jan Miel (Beveren-Waes 1599–1664 Turin), An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay at Christie's Art historians interpret the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from 'committente' to 'acquirente', that is, from painting on commission to painting on the open market. Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble, where walls were completely covered with paintings of various types and sizes. The architectural piece lent variety to such ensembles by introducing the strong verticals and horizontals of its subject matter.
In 2017 Pike curated 'Polish Music Day' at Wigmore Hall in London, featuring three concerts of Polish music including a specially commissioned work by contemporary Polish composer Paulina Załubska, and the UK premiere of Krzysztof Penderecki’s Capriccio for solo violin. Pike has had many pieces written specially for her, such as Hafliði Hallgrímsson’s Violin Concerto, which she premiered with the Iceland Symphony Orchestra and Scottish Chamber Orchestra. Other commissions for Pike include Andrew Schultz’s Violin Concerto and Sonatina for solo violin, and Charlotte Bray’s Scenes from Wonderland, premiered with the London Philharmonic Orchestra at Royal Festival Hall in London. In celebration of the 40th anniversary of BBC Young Musician, Pike performed the world premiere performance of David Bruce's 'Sidechaining' as part of a BBC commission for four soloists and orchestra at the 2018 Proms.
From 1929 Pierre Monteux was invited by Cortot to become closely involved with the orchestra as artistic director and principal conductor. Monteux made his debut with them on 12 April that year, conducting a major spring festival; at the end of the first season the orchestra had given 63 concerts. The season also saw the first recording by the orchestra (although referred to as ‘Grand Orchestra Symphonique’): the premiere recording in May of The Rite of Spring, conducted by Monteux, at the refurbished Salle Pleyel. New works premiered by the orchestra included Rugby in 1928, Capriccio for piano and orchestra in 1929 both under Ansermet, Poulenc’s Concert Champêtre (with Wanda Landowska), Prokofiev’s 3rd symphony under Monteux; as well as Paris premieres of Janáček's Sinfonietta and fragments from Berg’s Wozzeck.
Returning to the stage, his lavish and luxuriant costumes for Norma Desmond in Andrew Lloyd Webber's musical Sunset Boulevard (1993 in London; 1994 in the USA), based on the movie directed by Billy Wilder, earned him another Tony Award. Glenn Close headed the American production and Powell got to create the over-the-top costumes for her Cruella de Vil in the live action remake of 101 Dalmatians (1996), and its sequel 102 Dalmatians (2000); for which he received another Best Costume Design Academy Award nomination. He also reinterpreted '60s mod fashions for the film version of The Avengers (1998). In 2004 Anthony Powell designed the costumes for Richard Strauss's opera Capriccio for the Paris Opera at the Palais Garnier, starring Renée Fleming, and directed by Robert Carsen.
"It made Schwarzkopf into a uniquely self-conscious interpreter: it was perfectly natural to her that when asked on the BBC radio programme Desert Island Discs to select eight recordings to be shipwrecked with, she should choose only her ..." In the 1960s, Schwarzkopf concentrated nearly exclusively on five operatic roles: Donna Elvira in Don Giovanni, Countess Almaviva in The Marriage of Figaro, Fiordiligi in Così fan tutte, Countess Madeleine in Strauss's Capriccio, and the Marschallin. She was also well received as Alice Ford in Verdi's Falstaff. However, on the EMI label she made several "champagne operetta" recordings like Franz Lehár's The Merry Widow and Johann Strauss II's The Gypsy Baron. Schwarzkopf's last operatic performance was as the Marschallin on 31 December 1971, in the theatre of La Monnaie in Brussels.
The Capriccio is scored for: 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in A, 2 bassoons, 4 horns in F, 2 cornets in A, 2 trumpets in E, 3 trombones (2 tenor, 1 bass), tuba, 3 timpani, triangle, tambourine, cymbals, bass drum, glockenspiel, harp and strings. After a brief bugle call, inspired by a bugle call Tchaikovsky heard daily in his rooms at the Hotel Constanzi, next door to the barracks of the Royal Italian Cuirasseurs, a stoic, heroic, unsmiling melody is played by the strings. Eventually, this gives way to music sounding as if it could be played by an Italian street band, beginning in the winds and ending with the whole orchestra. Next, a lively march ensues, followed by a lively tarantella, a Cicuzza.
In 2019, a work by Clérisseau described as "Roman ruins with oriental staffage," was auctioned at Sotheby's for $32,500. In 2018, a work by Clérisseau described as "View of the interior of an antique Roman bath," signed, was auctioned at Sotheby's for £11,875. In 2016, a work by Clérisseau described as "A classical capriccio with figures by a great arch," signed and dated 1786, was auctioned at Christie's for £13,750 In 2015, a lot of two works by Clérisseau described as "The Arch of Titus, Rome; and The Forum of Nerva, Rome," both signed, was auctioned at Christie's for £20,000. In 2014, a lot of two works by Clérisseau described as "Ancient gate at Cumae near Naples; Grotto of Egeria on the Via Appia," both signed and dated 1769, was auctioned at Sotheby's for $20,000.
130 They include the bearded composer George Henschel and his daughter Helen, high on a balcony to the right. A bearded bust to the lower left may be a self- portrait of Alma-Tadema, beside the base of a column where the painting is signed and numbered: " L Alma Tadema Op CCCXXVI". The surrounding scene is an architectural capriccio, not a single known location but rather combining parts of known Roman buildings from several different locations=. To the left rear is a triumphal arch, with an inscription taken from the Arch of Trajan at Benevento, southeast of Rome; its spandrel is decorated with a river god based on the Arch of Constantine, but unusually accompanied by a sheep and bull (for Aries and Taurus, denoting April and May).
Fetler's style is atypical of the well-known composers of the 20th century. Fetler's music, as he has described it, is “the merger of listener and music.” Few recordings of Fetler's music exist, though in 2009, the Ann Arbor Symphony Orchestra released an album of Fetler pieces. Works include Fetler's Three Poems by Walt Whitman, Capriccio, and Violin Concerto no. 2. Three Poems by Walt Whitman, scored for orchestra and narrator, is described as “delicate and sometimes languid but essentially reflective and thoughtful.”Bret Johnson, “CD and DVD Reviews,” Tempo 64, (2010): 65-81. The 2nd movement is an exception and is described as “lear in the storm hysteria” by reviewer Bret Johnson. Fetler's 2nd violin concerto focuses on the interaction of the soloist with the orchestra rather than technical virtuosity, allowing for rich harmonies and thoroughly developed ideas.
Göring studied voice at the Musikhochschule Leipzig with Jitka Kovariková and at the Musikhochschule Dresden with Hartmut Zabel. Even during her studies, she appeared on stage as Hänsel in Humperdinck's Hänsel und Gretel and in the title role of Giles Swayne's Le nozze di Cherubino. She has been a member of the Oper Leipzig since the 2002/03 season, where she appeared as Kundry in Wagner's Parsifal, the Mother in Hänsel und Gretel, the Foreign Princess in Dvořák's Rusalka, in the title role of Bizet's Carmen and as Clairon in Capriccio by Richard Strauss, among others. She has appeared there in Wagner's Der Ring des Nibelungen in several roles, as the goddess Fricka and the Rhinemaiden Wellgunde in Das Rheingold, as Fricka and the Valkyrie Waltraute in Die Walküre, and as Waltraute and the Second Norn in Götterdämmerung.
The work terminates in a chord in which the player's left hand must cover a low G, the G an octave above it, and the B two notes higher still. On orthodox keyboards this would be an impossible stretch for most players, but as on the Viennese bass octave it would have been easy to play, with the fingers depressing keys that visually appeared as D–G–B (see diagram above). When Haydn's Capriccio was published by Artaria in the 1780s, the Viennese bass octave had mostly disappeared (indeed, the harpsichord itself was becoming obsolete). The publisher accordingly included alternative notes in the places where the original version could be played only on a short octave instrument, presumably to accommodate the needs of purchasers who owned a harpsichord or piano with the ordinary chromatic bass octave.
She also gave guest performances at the Teatro Real in Madrid, at the Teatro Nacional de São Carlos in Lisbon, in Paris (February 1989; as Magdalene at the Palais Garnier), in Montpellier (February 1993 as Ortrud, 1995), in Nice (1993 as Clairon in Capriccio; 1995 as Klytämnestra) and in Amsterdam (September 1993 as Kundry; June 1995 as Magdalene). She appeared several times at the Flemish Opera (De Vlaamse Opera) in Antwerp and Ghent: 1990 as Kundry in Parsifal (Ghent), 1991 also as Kundry in Parsifal. Bayreuth premiere cast of Parsifal 1991 (Antwerp), 1994 as Ortrud (Ghent), 1996 as Kundry (Ghent/Antwerp), 1996 as Principessa in Suor Angelica and Zita in Gianni Schicchi (both in Antwerp). In the United States, she gave a guest performance in Charleston (June/July 1987 and 1990; as Kundry in Parsifal), at the Metropolitan OperaRuthild Engert-Ely.
Born in Milan in 1940, Amodio trained at the ballet school of the Teatro alla Scala, whose ranks he joined immediately. While there, he performed in productions by Léonide Massine (Il cappello a tre punte, Capriccio spagnolo, Fantasmi al Grand Hotel), George Balanchine (Sinfonia in Do, I quattro temperamenti), and Petit (Le quattro stagioni, Le jeune homme et la mort, La chambre, Le loup). At the age of 22, he left the company of the Teatro alla Scala to begin his career as a choreographer and free-lancing dancer, which led him to pivotal collaborations with Hermes Pan, who chose him as lead in the Italian TV production Studio Uno, and with Aurel Milloss at the Teatro dell'Opera di Roma. He frequently returned to the Teatro alla Scala, where he performed with Carla Fracci in productions of Il gabbiano and Pelléas et Mélisande.
A blind street performer playing in Jingzhou, Hubei, China, 2006 Blind Chinese Street Musician, Beijing, 1930 A notable composer for the Erhu was Liu Tianhua (刘天华/劉天華; Liú Tiānhuá; 1895–1932), a Chinese musician who also studied Western music. He composed 47 exercises and 10 solo pieces (1918–32) which were central to the development of the Erhu as a solo instrument. His works for the instrument include Yue Ye (月夜; Yuè yè, Moon Night) and Zhu ying Yao hong (烛影摇红; Zhú yǐng yáo hóng, Shadows of Candles Flickering Red). Other solo pieces include Er Quan Ying Yue (1950, Two Springs Reflecting the Moon) by Abing, Sai Ma (Horse Race) by Huang Haihuai, Henan Xiaoqu (Henan Folk Tune) by Liu Mingyuan, and Sanmenxia Changxiangqu (1961, Sanmen Gorge Capriccio) by Liu Wenjin.
She gave three other performances with the company during that summer season, Suzuki in Puccini's Madama Butterfly, Baba the Turk in The Rake's Progress, and Tabitha in the world premiere of Marvin David Levy's The Tower. Sarfatay returned regularly to the SFO through 1968, portraying such roles as Clarion in Richard Strauss's Capriccio, Dorabella in Così fan tutte, Meg Page in Falstaff, Jane Seymour in Anna Bolena, Prince Orlofsky in Die Fledermaus, and the title roles in Regina and Carmen (conducted by Robert Craft, in 1961), among others. She also sang the role of Nelly in the world premiere of Carlisle Floyd's Wuthering Heights in 1958 (with Phyllis Curtin) and Agave in the United States premiere of Hans Werner Henze's The Bassarids in 1968 with the SFO. In 1958 Sarfaty made her debut with the New York City Opera as the Widow Zimmerlein in Strauss's Die schweigsame Frau.
The > brief, repetitious texts and credulity-straining plots of the bel canto > repertory, with their attenuated melodic lines and spectacular runs, can > pose more challenges to a titleist than do the complex texts of an opera by > Strauss or Wagner. Titling, like any aspect of performance, is a dynamic > technical skill, and a titleist may return to an opera in subsequent > seasons, adjusting and refining both word choice and the technical aspects > of delivery. However the titleist resolves these questions, the resulting > version becomes the audience's live-time reading matter. Operas for which Haddad did the translation and surtitling in the course of her career include: Tchaikovsky's The Queen of Spades in 1995; Prokofiev's War and Peace; Verdi's Falstaff and I vespri siciliani; Richard Strauss's Capriccio; Rossini's La donna del lago; Mozart's Così fan tutte and Don Giovanni; Pergolesi's Lo frate 'nnamorato and Conrad Susa's The Dangerous Liaisons.
Renée Lynn Fleming (born February 14, 1959) is an American operatic soprano, known for performances in opera, concerts, recordings, theater, film, and at major public occasions. Fleming has a full lyric soprano voice.Tommasini, Anthony: "For a Wary Soprano, Slow and Steady Wins the Race", The New York Times, September 14, 1997 She has performed coloratura, lyric, and lighter spinto soprano operatic roles in Italian, German, French, Czech, and Russian, aside from her native English. Her signature roles include Countess Almaviva in Mozart's Le nozze di Figaro, Desdemona in Verdi's Otello, Violetta in Verdi's La traviata, the title role in Dvořák's Rusalka, the title role in Massenet's Manon, the title role in Massenet's Thaïs, Tatyana in Tchaikovsky's Eugene Onegin, the title role in Richard Strauss's Arabella, the Marschallin in Strauss's Der Rosenkavalier, the Countess in Strauss's Capriccio, and Blanche DuBois in André Previn's A Streetcar Named Desire.
His marine paintings cover the whole range of subjects typical for marine painters in the 17th century such as sailing ships and galleys at sea, port scenes, Mediterranean harbour capriccios, ships in distress, storms at sea and naval battles. These compositions show him to be steeped in Flemish and Dutch traditions of marine painting. His seascapes evidence a vigour and vividness of colour while some of his battle scenes are surprisingly calm. Portrait of Sir Robert Clayton He created many renderings of naval battles and his earliest dated painting is a 1672 imaginary interpretation of the Battle of Actium (National Maritime Museum, London).Lorenzo A. Castro (Antwerp, active 1672–1686), A capriccio of a Mediterranean harbour with elegant figures disembarking, shipping beyond at Christie's He painted a panoramic view of the Battle of Lepanto (Sold at Bonhams on 8 December 2004 in London, lot 135).
In writing his book, he noted the instrument was soaring in popularity in the shape of the banjo. He did not just recycle old material for his book, but also included his own compositions, including Souvenir de Malta, Caminando (a tango), Souvenir de Rome, Un Beso Por Teléfono, Qui-Pro-Quo, Rêverie, and Capriccio (a polka).Salvator Léonardi, Méthode pour Banjoline ou Mandoline- Banjo, Paris, 1921 As a music teacher, Léonardi was unsure of whether to include jazz in his book, saying he thought it a faddish style of playing that might not be around very long. In spite of his speculation, he chose to include the section on how to play jazz, noting that he had played with American jazz bands after World War I. He is known for composing Souvenir de Catania, Souvenir de Napoli, Souvenir de Sicile, and Angeli e Demoni.
Before joining the Jette Parker Young Artists Programme, Kim's operatic roles included Simone and Betto (Gianni Schicchi), Doctor Grenvil (La traviata) and Colline (La bohème). He made his Royal Opera debut as Montano (Otello, Act IV) in the Plácido Domingo Celebration. His many roles since for The Royal Opera have included Alessio (La sonnambula), Ortel (Die Meistersinger von Nürnberg), Count Ceprano, Hector’s Ghost (Les Troyens), Montano (Otello), Don Prudenzio (Il viaggio a Reims, JPYAP 10th anniversary summer performance), Monterone (Rigoletto, Operalia Gala), Fourth Chevalier/Monk (Robert le diable), Colline, Zaretsky (Eugene Onegin), Sciarrone (Tosca), Second Man in Armour (Die Zauberflöte), Flemish Deputy (Don Carlo), Pietro (Simon Boccanegra), Servant (Capriccio), Robert (Les Vêpres siciliennes), Nightwatchman (Die Frau ohne Schatten), Wagner (Faust), Doctor Grenvil, Sergeant (Manon Lescaut), Lackey (Ariadne auf Naxos) and Balthazar (La Favorite Act I, JPYAP summer performance). Kim has performed widely in concert and recitals throughout South Korea and Europe.
Boston Globe, 18-Nov-1971, Ellen Pfeifer, "Soprano gives 'rare' recital" A singer of considerable warmth, musicality and sincerity, Watson was also greatly admired as Ariadne, the Countess in Capriccio, and especially as Ellen Orford in Peter Grimes, of which she left a memorable recording, conducted by Benjamin Britten himself. She can also be heard on other recordings: as Agathe in Der Freischütz, under Lovro von Matačić, as Donna Anna in Don Giovanni, opposite Nicolai Ghiaurov and Nicolai Gedda, under Otto Klemperer, as well as Eva in a live recording of Die Meistersinger von Nürnberg, under Joseph Keilberth. She is both Freia and Gutrune in the landmark Decca/London Ring conducted by Solti. She also sang the Countess in the famous Karl Bohm DVD recording of "Le Nozze di Figaro" from the Salzburg Festival of 1966 with Ingvar Wixell, Reri Grist, Walter Berry and Edith Mathis.
The concluding capricci of Opus 8 are contrapuntal pieces. The most significant point of interest in Varie Sonate Alla Francese, & all' itagliana à sei Stromenti, Opus 11 (1684), is the unusual scoring of three violins, two violas (one alto viola and one tenor viola) and continuo – although, as mentioned above, Vitali makes it clear in his preface that the middle parts can be regarded as ad lib. The thirty dance movements that make up this collection are grouped together by key. Dance types include a balletto, capriccio, introdutione, gavotta, giga, borea, zoppa, sarabanda and corrente. The next collection of da camera sonatas, Balli in stile francese a cinque stromenti, Opus 12 (1685), is scored a quattro, for two violins, viola and continuo. The dances are grouped together according to key, not presented in pairs as is the case with Vitali’s Opera 1, 3 and 8.
Derek Lee Ragin has recorded extensively for the Telarc, Philips, EMI, Erato and Capriccio labels, including Italian lute songs, G.F. Handel cantatas, and a disc of spirituals entitled Ev'ry Time I Feel the Spirit. His recording of Leonard Bernstein's Chichester Psalms and the world premiere of the composer's Missa Brevis with the Atlanta Symphony Orchestra and Robert Shaw won a Grammy Award, and his recording of Giulio Cesare with Concerto Köln received a Gramophone Award in 1992. Shortly after his Salzburg performance of Orfeo ed Euridice, he sang the role of Orfeo on the Philips recording of the opera with Sylvia McNair as Euridice and Sir John Eliot Gardiner conducting the English Baroque Soloists and the Monteverdi Choir. Farinelli, the film about the 18th century castrato won the Golden Globe Award for Best Foreign Film in 1995, and the soundtrack won the Golden Record award the following year in Cannes.
In time his music became more dissonant, rougher in harmony and melody. In the mid-1950s he integrated into his composing technical arsenal elements of dodecaphony, jazz (most vigorously in the late fifties and early sixties; Concerto for Piano and Orchestra No 3, Mosaic for Classical String Quartet and Jazz Quartet, Capriccio for Violin Solo and Jazz Quartet, Ein Orchestermosaik and so on). Later, pop came in, as did other technical composition techniques of the avant-garde in music of the 20th century, although he retained an ironical distance from some of them, subjecting them on occasions to irony or parody. The origin of part of Papandopulo’s oeuvre of the 1960s and 1970s is related to his guest appearances and acquaintanceships with musicians in the then divided Germany (BNR and DDR), where he had opportunities to meet outstanding artistic personalities, as well as recent European musical creation.
She appeared at the Bayreuth Festival from 2011 to 2014 as Elisabeth in Wagner's Tannhäuser, and as Sieglinde in Die Walküre from 2017. In 2014, she appeared in the title role of Ariadne auf Naxos by Richard Strauss at the Oper Frankfurt, as the Marschallin in his Der Rosenkavalier at the Grand Théâtre de Luxembourg, and in the soprano part of Beethoven's Ninth Symphony at the Hollywood Bowl in Los Angeles. In January 2017, she took part in the opening of the Elbphilharmonie, singing the soprano part in Beethoven's Missa solemnis, alongside Sarah Connolly, Klaus Florian Vogt and Luca Pisaroni with the Hamburger Symphoniker conducted by Jeffrey Tate. In 2018, she appeared as the Countess in Capriccio by Richard Strauss at the Oper Frankfurt, staged by Brigitte Fassbaender who moved the action to the time of the creation of the opera, World War II, and the place to Occupied France.
Born in Rome, he studied at the Accademia Nazionale di Santa Cecilia, studying piano with Francesco Baiardi, conducting with Giacomo Sentaccuoli and composition with Ottorino Respighi. Around the end of the First World War Francesco came to England and in 1920 he married Maria Stierli, with whom he had a daughter, Maeve, and a son, Niso. “On 21 September 1920 he played Mendelssohn's First Concerto, and on 9 October of the same year the Busoni transcription of Liszt's Rhapsodie espagnole, a week later making his recital debut at the Wigmore Hall; that programme contained favourite pieces he was still playing 20 years later - Bach's Italian Concerto, Beethoven's 'Waldstein' Sonata, Chopin's Cjt minor Scherzo, Berceuse, Fantasy- Impromptu and Al> Polonaise, and the three of Liszt's Paganini Etudes - Capriccio, La chasse, …[and] La campanella.” At the first night of the 1921 Prom season Francesco contributed with the Weber Konzertstück.
The Nativity in an ancient ruin Most of Codazzi's paintings are medium-sized paintings of architecture, either ruins, ideal architecture, or capricci, in a landscape setting. The type of decorative architectural paintings that Salucci created represent a form that became popular in mid-17th century Rome.Alessandro Salucci (Florence 1590–1655/60 Rome) and Jan Miel (Beveren-Waes 1599–1664 Turin), An architectural capriccio with an ionic portico, a fountain, a two story loggia, a Gothic palace and figures on a quay at Christie's Art historians interpret the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from 'committente' to 'acquirente', that is, from painting on commission to painting on the open market. Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble, where walls were completely covered with paintings of various types and sizes.
Preludio, Fuga & Fuga figurata ::3. Giga, Bolero & Variazione: Studie nach Mozart ::4. Introduzione, Capriccio & Epilogo :v Geoffrey Douglas Madge, piano :v Wolf Harden, piano :v Geoffrey Tozer, piano (Giga, Bolero e Variazione: Studie nach Mozart only) :v Marc-André Hamelin, piano ("Giga, Bolero e Variazione: Studie nach Mozart only) :v Holger Groschopp, piano ("Giga, Bolero e Variazione: Studie nach Mozart only) Große Fuge (Great Fugue) (1910), BV 255 :v Holger Groschopp, piano Fantasia Contrappuntistica, Edizione definitiva (1910) BV 256 :v John Ogdon, piano :v Hamish Milne, piano :v Viktoria Postnikova, piano :v Geoffrey Douglas Madge, piano :v Sandro Ivo Bartoli, piano :v Wolf Harden, piano :v Carlo Grante, piano :v Jan Michiels, piano :v Holger Groschopp, piano :v Carlo Grante, piano Fantasia Contrappuntistica, Edizione minore. Chorale Prelude and Fugue on a Fragment of Bach (1912) BV 256a :v Geoffrey Douglas Madge, piano Sonatina (No.
Brought to the Met by Fulton, he joined the Metropolitan Opera's Young Artist Development Program, his career at the there consisted of secondary roles in Manon Lescaut (as Edmondo), Khovanshchina (as Kuzka), La traviata (as Gastone), Roméo et Juliette (as Tybalt and later as Benvoglio), Samson et Dalila (the Philistine Messenger), Lucia di Lammermoor (as Lord Arturo Bucklaw), Rigoletto (as Matteo Borsa) and Pong in Turandot. Elsewhere, Redmann appeared at Opéra de Nice (as Flamand in Capriccio and Don José in Carmen), Hong Kong (as Hoffmann in Les contes d'Hoffmann), West Virginia Symphony (Faust), Lyric Opera of Kansas City (as Michele in The Saint of Bleecker Street and Roméo in Roméo et Juliette), Des Moines Metro Opera, Dicapo Opera Theatre, Il Piccolo Teatro, Long Beach Opera, Michigan Opera Theatre, Mississippi Opera, New Jersey State Opera, Opera Classics of New Jersey, New Orleans Opera Association (La bohème), Opera Omaha, Palm Beach Opera, San Diego Opera, Shreveport Opera, Treasure Coast Opera Society, and the Goldovsky Opera Institute.
Well-known works of the Romantic era include the Robert Schumann Concerto, the Antonín Dvořák Concerto as well as the two sonatas and the Double Concerto by Johannes Brahms. A review of compositions for cello in the Romantic era must include the German composer Fanny Mendelssohn (1805–1847) who wrote the Fantasy in G minor for cello and piano and a Capriccio in A-flat for cello. Compositions from the late-19th and early 20th century include three cello sonatas (including the Cello Sonata in C Minor written in 1880) by Dame Ethel Smyth (1858–1944), Edward Elgar's Cello Concerto in E minor, Claude Debussy's Sonata for Cello and Piano, and unaccompanied cello sonatas by Zoltán Kodály and Paul Hindemith. Pieces including cello were written by American Music Center founder Marion Bauer (1882–1955) (two trio sonatas for flute, cello and piano) and Ruth Crawford Seeger (1901–1953) (Diaphonic suite No. 2 for bassoon and cello).
38 s.Erato CD set 5099907087554, 2011 In addition to Fauré's original and orchestral versions of the Berceuse, recordings have been made of arrangements for cello and guitar,Deutsche Grammophon CD 00028947764014, 2007 flute and harp,Capriccio CD C10765, 1996 flute and piano,Cryston CD OVCC-00014, 2005 flute, oboe and orchestra,Naxos CD 8.555977, 2002 solo guitar,Acqua Records CD AQ322, 2011 guitar and dulcimer,Classico CD CLASSCD117, 2004 oboe and harp,Audite CD 97.409, 1987 oboe and piano,Tudor CD TUDOR7067, 2009 panpipes and piano,Thorofon CD CTH2142, 1992 solo piano,Naxos CD 8.550216, 1989 saxophone and piano,Meister Music CD MM1073, 1999 viola and piano,Challenge Classics CD CC72165, 2006 and vocalise and harp.Centaur CD CRC2508, 2001 Another berceuse by Fauré is the first movement of his Dolly Suite; it was composed in 1864 and incorporated into the suite which he completed in the 1890s. The two berceuses are not thematically related to each other.
Reuter was born in Copenhagen. He studied at the Royal Danish Academy of Music and at the Royal Danish Opera Academy. He has been a member of the ensemble at the Royal Danish Opera since 1996. His principal appearances at the Royal Danish Opera are the Mozart roles Leporello and Don Giovanni in Don Giovanni, Figaro in Le nozze di Figaro, Papageno in Die Zauberflöte and Guglielmo in Così fan tutte, the Verdi roles Posa in Don Carlo and the title roles in Macbeth and Simon Boccanegra, Alex Bloch in Frandsen's I-K-O-N™, Mandryka in Strauss' Arabella, Henrik in Carl Nielsen's Maskarade, the title role in Philip Glass’ Orphée, Wotan in Wagner's Das Rheingold, Tomsky in Tchaikovsky's Pique dame, Olivier in Strauss’ Capriccio, Struensee in Holten's The Visit of the Royal Physician, Escamillo in Bizet's Carmen, Dr. Needlemeier in Sawer's Skin Deep and the title role in Mussorgsky's Boris Godunov.
She performed this ballet a second time in November 2014 at the Théâtre des Champs-Élysées, again with Nicolas Le Riche. She was particularly noticed during the performance on stage of the solo of the second act of Die Frau ohne Schatten, under the direction of Robert Wilson, in Richard Strauss string sextet Capriccio, in Messian's Quartet for the End of Time at the Opéra Bastille, and more recently in the Ode to Napoleon Buonaparte,Ode to Napoleon Buonaparte on IMSLP quintet by Arnold Schönberg with narrator, given on the stage of the Opera Garnier. She premiered the Crépuscule du Kol Nidré,Crépuscule du Kol Nidré on BnF a work for solo cello by Graciane Finzi, in November 2009 in Paris, as well as the Douze chants hébraïques by Jean- François Zygel, with the composer, in Paris in 2010. She has a career as a concertist, often performing with Jean-François Zygel.
Gareth Walters' Divertimento for String Orchestra was his first work to appear on record, in 1970, although he had composed it in 1960. Played by the English Chamber Orchestra, and conducted by David Atherton, the piece has subsequently been recorded on three other occasions: in 2002 by the Royal Ballet Sinfonia for ASV, in 2003 by the Manitoba Chamber Orchestra for CBC, and most recently in 2007 by the Orquestra de Cambra Terrassa in Barcelona. Other works that have been recorded are Sinfonia Breve (1964), Elegy – a poem for string orchestra (1969), Overture: Primavera (1962), Gwent Suite (1959), Little Suite for Harp (recorded on a ‘Classics for Pleasure’ LP and re-issued on CD in 1998), Capriccio for guitar (1980), Two Harpsichord Suites and Two Elizabethan Suites (both of the latter appearing on a KPM LP in 1969). Berceuse for harp, Cân y galon, Little Suite for Flute and Harp, Poésies du soir and Violin Sonata were all recorded by Toccata Classics in 2008.
Other roles included Malatesta and Dulcamara (Donizetti); Lescaut, Marcello, Sharpless, Ping (Puccini); Beckmesser (Wagner); Nick Shadow (Stravinsky); Golaud (Debussy); Politician in The Eighth Wonder (Alan John); Zurga (Bizet); and roles in Death in Venice and The Rape of Lucretia (Britten); Capriccio and Intermezzo (Richard Strauss); Lady Macbeth of Mtsensk (Shostakovich); The Tales of Hoffmann (Offenbach); and operas by Janáček, Cilea, Sullivan, Massenet and Gounod. He also appeared in musicals, such as Melvyn Morrow's and John Mallord's one-man show Postcards from Provence, based on stories by Alphonse Daudet.The Essgee Creative Team He sang at Glyndebourne (as Nick Shadow in The Rake's Progress), the Teatro Regio in Turin, San Diego Opera; the Paris Autumn Festival and the Paris Theatre Musical; in Cologne and Brussels, and with the Australian state opera companies and symphony orchestras. At the age of 65 in 2003, he learned what he considered his most difficult role, that of Doctor Schön/Jack the Ripper in Alban Berg's Lulu.
Howard Bay's set and the fatal fire in the tenement that begins One-Third of a Nation, a Living Newspaper about housing produced by the Federal Theatre Project (1938) Howard Bay was born in Centralia, Washington to parents who were teachers; his father was an art teacher, his mother an English teacher. Over 50 years he designed the sets and lighting, as well as occasionally the costumes, for some 105 Broadway plays and musicals as well as operas and television shows."Howard Bay Designs at the New York Public Library for the Performing Arts", NYPL, accessed January 27, 2010 Bay designed sets for the Federal Theatre Project in New York City, for four operas for the National Orchestral Association, performed at Carnegie Hall, 1939–40 and for the operas Capriccio and Natalya Petrovna for the New York City Opera, 1965.Biography filmreference.com, accessed January 27, 2010 Bay first designed the sets for Broadway for the play Chalk Dust in 1936.
Gaetano Brunetti or Cayetano Brunetti (1744 in Fano - 16 December 1798 near Madrid) was a prolific Italian born composer active in Spain under kings Charles III and IV. Though he was musically influential at court and, to a lesser extent, throughout parts of western Europe, very little of his music was published during his lifetime, and not much more has been published since his death. The majority of Brunetti's output (451 pieces) consists of chamber music designed for small ensembles and symphonies for the royal chamber orchestra. His music, with its graceful melodies and periodic phrasing, respects early classical forms and conventions but also incorporates some more progressive and eclectic elements. The dearth of modern editions of Brunetti's compositions has helped limit the number of recordings of his work to a mere handful of releases, including a collection of three symphonies performed by Concerto Köln on the Capriccio record label and a group of string quartets performed by the Schuppanzigh Quartet for CPO.
After the war, she appeared at the Zurich Opera and the Vienna Volksoper, and then joined the Munich State Opera in 1949, where she remained until 1971, she was also a guest at the Vienna State Opera, in The Barber of Seville, The Magic Flute and Capriccio, where she established a reputation as a soprano of agility and glamorous personality. She made guest appearances as Gilda, at the Royal Opera House in London in 1951, and at the Glyndebourne Festival, where she sang Konstanze in Die Entführung aus dem Serail, Adele in Le comte Ory, and Zerbinetta in Ariadne auf Naxos to great acclaim. She made her American debut at the San Francisco Opera in 1950, as the Queen of the Night in The Magic Flute. She also sang operetta, and enjoyed considerable success in London in 1970, in a revival of the musical The Great Waltz at the Theatre Royal Drury Lane, which coincided with her appearance on Desert Island Discs.
Di Giuseppe is one of the few opera singers to have had lengthy overlapping careers at both the New York City Opera (NYCO) and at the Metropolitan Opera. He made his NYCO debut in 1965 as Michele in Gian Carlo Menotti's The Saint of Bleecker Street. He returned in 1967 for what was possibly his greatest success, the difficult, "tenor-altino" role of the Astrologue in Rimsky-Korsakov's The Golden Cockerel, opposite Norman Treigle and Beverly Sills, conducted by Julius Rudel and directed by Tito Capobianco. He would go on to perform twenty-six roles at City Opera over sixteen years, in operas such as The Barber of Seville, The Magic Flute, Der Rosenkavalier, Cavalleria rusticana, Tosca, Manon, Gianni Schicchi, Madama Butterfly, Faust, Capriccio, La traviata, La bohème, La Cenerentola, Lucia di Lammermoor, Rigoletto, Un ballo in maschera, Roberto Devereux, Don Giovanni (directed by Frank Corsaro), Maria Stuarda, Anna Bolena, I puritani, La fille du régiment, Attila, The Makropulos Case, and Mefistofele.
At Sadler's Wells in 1981 he appeared as Young Scrooge in Musgrave's Christmas Carol. He sang Masetto in Don Giovanni in February 1980 at London Coliseum for English National Opera, going on to sing Gregory in the new production of Romeo and Juliet in March 1981 and a Herald in the new production of Otello in September 1981, and other roles subsequently with the company. He made his debut at Glyndebourne Opera in May 1984 as Count Almaviva, and at La Scala in 1991 was Baron Dourlinski in Lodoïska. Other opera companies with which he appeared in the earlier part of his career include San Francisco Opera (1988), Frankfurt Opera (1988), Grand Theatre Geneva (1989), Vienna State Opera (1990), Lyric Opera Chicago (1991). At Covent Garden he made his debut as Schaunard in La bohème in 1985, going on to sing in Così fan tutte (1986 and 1992 – as Guglielmo), Werther (1987 – Albert), Capriccio (1991 – Olivier), La bohème (1996 – Marcello), The Rake's Progress (2010 - Nick Shadow), Così fan tutte (2010 - Don Alfonso), and Manon (2010 - De Brétigny).
She has played at Mozart Week Salzburg, Leipzig Bach Festival, Rheingau Musik Festival, Schubertiade Schwarzenberg, Musiktage Mondsee, "Spannungen" Heimbach, Marlboro (USA), West Cork (Ireland) and Istanbul (Turkey). She has won the Lionel Tertis International Viola Competition, the Markneukirchen International Viola Competition and the Yuri Bashmet Competition. Her CD recordings "British Viola Concertos" (Coviello Classics) and of Karl Amadeus Hartmann's viola concerto (Capriccio) were awarded the German Record Critics’ Prize, the Diapason découverte and a Supersonic Award (Pizzicato). She has performed chamber music together with Heinrich Schiff, Gidon Kremer, Roglit Ishay, Steven Isserlis, Menahem Pressler, Lars Vogt, Isabelle Faust, Christian Tetzlaff, the Vogler Quartet as well as Carolin Widmann, Jörg Widmann and Jana Bouškova. Since 2010, Masurenko has also been performing classical folklore in various programmes with ensembles such as the Volga Virtuoso Quartet (Russian folk instruments) and KOTTOS from Copenhague (international folklore with various flutes, guitar, cello and accordion). Since 2018, she has intensively played the viola d’amore, developing her repertoire in the baroque, classic and modern styles for this instrument.
In 1909, when he was still very young, he won the Gold Medal in the Valencia Regional Exhibition, with his Fantasy for great organ, a piece composed between 1906 and 1907 and premiered by Guridi himself. Also in 1909 he composed an Interlude and in 1917 he wrote another Fantasy, that was published under the title Prelude and Fantasy. In 1922 he composed Cuadros vascos (Basque scenes), for chorus and orchestra, and adapted, for solo organ, the Espatadantza (traditional Basque dance) contained in this work. He also adapted for organ Four Cantigas of Alfonso el Sabio in 1953. In 1948 he composed Variations on a Basque theme, which consists of nine variations on the popular song Itsasoa laino dago (There is fog on the sea), contained in Resurrección Mª de Azkue’s Songbook. In 1951, Guridi grouped twenty short and not difficult of execution pieces for organ teaching approach under the title Spanish School of Organ (1. Introducción – 2. Capriccio – 3. Cantinela – 4. Himno – 5. Improvisación – 6. Canción vasca – 7. Salida – 8.
Labèque sisters and Simon Rattle, historical trio (in French) They performed for 33,000 people at the Waldbühne gala concert, the last concert of the 2005 season of the Berlin Philharmonic., and for more than 100,000 people in May 2016 at Schönbrunn Palace with the Vienna Philharmonic conducted by Semyon Bychkov. Many works have been written especially for them, such as "Linea" for two pianos and percussion by Luciano Berio, "Water Dances" for two pianos by Michael Nyman, "Battlefield" for two pianos and orchestra by Richard Dubugnon, "Nazareno" for two pianos, percussion and orchestra by Osvaldo Golijov and Gonzalo Grau, "The Hague Hacking" for two pianos and orchestra by Louis Andriessen, "Capriccio" by Philippe Boesmans, "Concerto for two pianos and orchestra" by Philip Glass performed in Los Angeles by the Los Angeles Philharmonic conducted by Gustavo Dudamel. Katia and Marielle have expanded the repertoire for two pianos and percussion with works such as the first instrumental version of West Side Story, transcribed by Irwin Kostal (orchestrator of the original musical), and the version for two pianos and basque percussions of Maurice Ravel's Boléro.
Architectural Capriccio, drawing, Morgan Library & Museum The portico with a lantern, from the series Vedute, c. 1740–1744, etching The first Westminster Bridge, 1746 The River Thames from Richmond House: a classic veduta, 1747 Westminster Abbey with a procession of Knights of the Bath, 1749 Many of his pictures were sold to Englishmen on their Grand Tour, first through the agency of Owen Swiny and later the banker Joseph Smith. It was Swiny in the late 1720s who encouraged the artist to paint small topographical views of Venice with a commercial appeal for tourists and foreign visitors to the city. Sometime before 1728, Canaletto began his association with Smith, an English businessman and collector living in Venice who was appointed British Consul in Venice in 1744. Smith later became the artist's principal agent and patron, acquiring nearly fifty paintings, one hundred fifty drawings, and fifteen rare etchings from Canaletto, the largest and finest single group of the artist's works, which he sold to King George III in 1763.
Carol Wilson is an American operatic soprano who is particularly admired for her interpretations of the works of Wolfgang Amadeus Mozart, Richard Strauss, and Richard Wagner. She has also had a considerable amount of success in performing in baroque operas. A graduate of Iowa State University and the Yale School of Music, Wilson has been a principal artist at the Deutsche Oper am Rhein since 1998 where she has portrayed such roles as Agathe in Der Freischütz, Alice Ford in Falstaff, the Countess in Capriccio, Elisabeth in Tannhäuser, Eva in Die Meistersinger von Nürnberg, Fiordiligi in Cosi fan tutte, Leonore in Fidelio, Senta in Der fliegende Holländer, and the title heroines in Alcina, Ariadne auf Naxos, L'incoronazione di Poppea, and Iphigénie en Tauride. Her 2009 performances at the house include Countess Almaviva in Le nozze di Figaro, Donna Elvira in Don Giovanni, the Empress in Die Frau ohne Schatten, Freia in Das Rheingold, Gutrune in Götterdämmerung, the Marschallin in Der Rosenkavalier, Ortlinde in Die Walküre, and La Speranza/La Musica in L'Orfeo.
Durch Adams Fall ist ganz verderbt. Fuga. (2nd version), BWV 705 :::9. In dir ist Freude (In Thee is joy), BWV 615 :::10. Jesus Christus, unser Heiland (Jesus Christ, our Savior), BWV 665 ::Holger Groschopp, piano :CD2: :^ Fantasia contrappuntistica, edizione definitiva (1910), second edition published by Breitkopf & Härtel, 1916 BV 256 :::1. Preludio corale :^ Bach: Capriccio on the Departure of His Beloved Brother, in B-flat major for harpsichord, BWV 992, transcribed for piano by Busoni (1914) BV B 34 :^ Bach: Fantasy, Adagio, and Fugue for harpsichord, BWV 906, 968, transcribed for piano by Busoni (1915) BV B 37 :^ Bach: Canonic Variations and Fugue from the "Musical Offering," BWV 1079, transcribed for piano by Busoni (1916) BV B 40 :^ Floh- Sprung. Canon for two voices with obbligato bass (1914) BV 265 :^ after Bach: Two Chorale Preludes (Das Calvarium), transcribed for piano by Busoni (fragments only - date unknown) BV B 46 :+ transcriptions by Michael von Zadora and Egon Petri and a composition by Anna Weiß-Busoni ::Holger Groschopp, piano Busoni/Bach – Liszt.
In September 1839, he was appointed Professor of Architecture at the Academy, following the death of William Wilkins.page 105, The Life and Work of C.R. Cockerell, David Watkin, 1974, Zwemmer Ltd, He won the first Royal Gold Medal for architecture in 1848page 243, The Life and Work of C.R. Cockerell, David Watkin, 1974, Zwemmer Ltd, and became president of the Royal Institute of British Architects in 1860. In 1833, following the resignation of Sir John Soane, he became surveyor to the Bank of England, and made additions to its London building, as well as designing branch offices in Manchester, Liverpool, Bristol, and Plymouth. His exhibits at the Royal Academy included reconstructions of ancient Rome and Athens and a capriccio entitled "Tribute to the Memory of Sir Christopher Wren, being a Collection of his Principal Works"; these became well known through published engravings As an archaeologist, Cockerell is remembered for removing the reliefs from the temple of Apollo at Bassae, near Phigalia, which are now in the British Museum.
Other opera credits include David McVicar's Carmen for Glyndebourne, Keith Warner's Lohengrin for the Bayreuth Festival, Lulu at the New National Theatre, Tokyo, Disney's The Hunchback of Notre-Dame (Berlin): The Love for Three Oranges (Opera North/ENO); The Three Musketeers (Young Vic); Capriccio (Staatsoper, Berlin); Guys and Dolls (RNT); Into the Woods (Old Vic / West End); Porgy and Bess (Glyndebourne) and La Fanciula del West, with Plácido Domingo (La Scala, Milan). Sue's many production design credits include The Relapse, voted Best Design by What's On readers, (RNT), The Nutcracker and Alice in Wonderland for the English National Ballet; Midsummer Night's Dream (Royal Dramaten Theatre, Stockholm and RSC; Cabaret (Donmar Warehouse); Sylvia (Birmingham Royal Ballet); King John, The Learned Ladies, and Antony and Cleopatra all for the Royal Shakespeare Company; Barber of Seville (Scottish Opera); The Duenna and Thieving Magpie (Opera North); Christmas Eve (ENO) and Lee Miller (Minerva Chichester). Her designs also feature in a new ballet for English National Ballet based on Oscar Wilde's novella of The Canterville Ghost conceived and choreographed by Will Tuckett.
In addition to the title role in Bluebeard's Castle and Zaccaria in Nabucco, these included: the Mozart roles of Count Almaviva in Le nozze di Figaro, Sarastro in Die Zauberflöte, and the title role in Don Giovanni; Rocco and Don Fernando in Beethoven's Fidelio; Marke in Wagner's Tristan und Isolde and Hunding in his Die Walküre; Tommaso in D'Albert's Tiefland, La Roche in Richard Strauss's Capriccio and the Music Master in his Ariadne auf Naxos; the Sultan in Rossini's Il Turco in Italia; Enrico in Donizetti's Anna Bolena; Ramfis in Verdi's Aida; Mephisto in Gounod's Faust; and the Doctor in Alban Berg's Wozzeck. Although his career was primarily based in Munich, Engen also appeared as a guest singer in other German opera houses and internationally. He appeared at the Bayreuth Festival in 1958 as Heinrich in Wieland Wagner's production of Lohengrin and at the Salzburg Festival in 1962 as Achior in Mozart's Betulia liberata. He performed several times as a guest artist at the Vienna State Opera from 1955 to 1972 and made his US debut in 1961 as Raymond Bidebent in San Francisco Opera's production of Lucia di Lammermoor.
There he sang among others Jochanaan in Salome, Hans Sachs in Die Meistersinger von Nürnberg (1963; conductor: Hans Gierster) and Jago in Otello. Imdahl also had a guest contract with the Opernhaus Zürich, where he appeared in 1955 as Amonasro in Verdi's Aida, later as Count Luna in Il trovatore, Pizarro in Beethoven's Fidelio and Scarpia in Tosca. Between 1961 and 1970 he appeared regularly at the Vienna State Opera; he made his debut there as Olivier in Capriccio in January 1961. He performed the roles of Pizarro in 1970, the Speaker in Mozart's Die Zauberflöte, and the music teacher in Ariadne auf Naxos by Richard Strauss. His Wagner roles there included the title role in Der fliegende Holländer (The Flying Dutchman), first sung in 1966 and repeated at the Hamburg State Opera and Santiago de Chile Opera. He also appeared in Vienna as Telramund in Lohengrin from 1966, Kurwenal in Tristan und Isolde from 1964, Hans Sachs in Die Meistersinger von Nürnberg from 1964, Wotan in Die Walküre in 1969 and Amfortas in Parsifal in 1968.Role list by Heinz Imdahl in Chronik der Wiener Staatsoper 1945-2005, .
She returned almost annually to this house through 1971 in such roles as Anna in Les Troyens, Azucena in Il trovatore, Berta in The Barber of Seville, Clairon in Strauss's Capriccio, Countess de Coigny in Andrea Chénier, Countess Geschwitz in Lulu, the First Norn in Götterdämmerung, Fricka in Das Rheingold, Herodias in Salome, The innkeeper in Boris Godunov, Marcellina in The Marriage of Figaro, The Marquise of Birkenfeld in La fille du régiment, Marthe Schwertlein in Faust, Mistress Quickly in Falstaff, the Mother in Louise, Mother Goose in The Rake's Progress, Prince Orlofsky, Rossweisse in Die Walküre, Tisbe in La Cenerentola, and the Woman in the United States premiere of Gunther Schuller's The Visitation. After a nine-year absence, Červená returned to San Francisco in 1980 to portray Countess Waldner in Arabella, Flora in La traviata, Mamma Lucia in Cavalleria Rusticana, and Starenka Buryjovka in Jenůfa. Červená has made several appearances at the Bayreuth Festival, including Floßhilde in The Ring Cycle (1960), Rossweisse (1966–67), and a Flower Maiden in Parsifal (1962–63 and 1966–67). She portrayed Clairon at the 1963 and 1964 Glyndebourne Festivals.
He has collaborated with several writers, including Vikram Seth ( 8 Beastly Tales ), Richard Stilgoe ( Mine Host ), and Dilys Rose ( Kaspar Hauser and Watching over You ). Boyle has written for emerging artists at the start of their careers – the pianist James Willshire has premièred several of his works and recorded much of Boyle’s piano music on a critically acclaimed CD.Andrew Clark, "review of Rory Boyle Solo Piano Music / Phaethon's Dancing Lesson", Financial Times, 23 April 2011Graham Rickson, "Classical CDs Weekly: Boyle, Martin, Rachmaninov", The Arts Desk, 27 May 2011 He has also written several pieces for the young clarinettist Fraser Langton including the solo piece, Burble , which was nominated for a British Composer Award in 2012. He has also written four operas for children, and in 1998 the National Youth Orchestra of Scotland’s tour programme included Capriccio , which was performed at venues including the Concertgebouw, Amsterdam and the London Proms. In 2006 Boyle won a Creative Scotland Award to enable him to write an opera with a libretto by the Scottish writer and poet Dilys Rose on the subject of the nineteenth century feral child, Kaspar Hauser.
His début as a singer was in 1965, in an open-air performance of Fredrik August Dahlgren's Värmlänningarna at Ransäter. He made his operatic début in 1968 at the Royal Opera in Stockholm as Papageno in Mozart's Die Zauberflöte. The role brought him international acclaim in Ingmar Bergman's 1975 film of the opera. He was attached to the Royal Opera from 1970 to 1978. He subsequently made his first appearance at the Drottningholm Theatre in 1970, as Pacuvio in Rossini's La Pietra del Paragone, at Glyndebourne in 1973 as the count in Richard Strauss's Capriccio, returning many times to perform works by Strauss and Mozart,"Hakan Hagegard", The Opera Archive, Glyndebourne Festival Opera, retrieved 6 October 2020. and at the Metropolitan Opera in New York in 1978–79 as Malatesta in Donizetti's Don Pasquale."Donizetti, Don Pasquale", Season on Demand, The Metropolitan Opera, retrieved 6 October 2020.Harold C. Schonberg, "Opera: New ‘Don Pasquale’ at the Met", The New York Times, December 8, 1978.Cori Ellison, "A Swedish Opera Star Who Is Serious About the Health of Burned-Out Artists", The New York Times, December 14, 1997.
Paliatsaras debuted in 1987 at the National Greek Opera, as Alfredo in La Traviata followed by many leading roles, including Macduff (Macbeth), Don Carlos, Don Ottavio in Don Giovanni, Alfred and Prince Orlovsky in die Fledermaus, Rossillon in Die Lustige Witwe (1992, 2000), Die Hexe in Hansel und Gretel (1990), Almaviva in Il Barbiere di Siviglia, Nicias in Thais, Shober in Dreimadelhaus, Jimmy in the Rise and Fall of the City of Mahagonny (1999), Prince Shuisky and the fool in Boris Godunov, the fisherman in Die Kluge, La Vie parisienne, Les contes d'Hoffman, Ariadne auf Naxos, Salome, Fadinard in Il cappello di paglia di Firenze (2001 and 2003), the latest in Mozart's Die Entfuhrung aus dem Serail (2007). He was in a partnership with the baroque ensemble Capriccio Stravagante, directed by Skip Sempé, first at the inauguration opening of the Dimitri Mitropoulos hall, part of the Athens Megaron Concert Hall. At the Athens Megaron he also appeared as Apollo in Monteverdi's L'Orfeo with I Solisti Veneti, Carmen with Agnes Baltsa and Mahagonny. A major landmark in his career was the tour in 30 cities and towns in France as Macheath in Kurt Weill's The Threepenny Opera with opera Eclate culminating in Paris 1990.

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