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Opera 33

beedoop blorp // classical :: opera

Nina Kuzmina (vocal), Alya Rysalieva (piano)

'Quando m'en vo', Puccini, opera 'La bohème'

Blue Monk (Thelonious Monk/Tim Royal)

Available on Spotify: https://open.spotify.com/track/3plkXCpQ1ex6BApWKjNeqn?si=HlX0snHAT1CcqcAJqlTLuQ

Four Seasons

by Emily Howard (words by Selma Dimitrijevic)

Friday Afternoons: Big Bums

Friday Afternoons: Pi (A Pie?)

Friday Afternoons: Probably

Friday Afternoons: Proverbial Ballade

Jeni Bern and the Orchestra of Opera North rehearse Musetta's Waltz.

La bohème: Aria 'Quando me'n vo'(Musetta's Waltz)

Donate Link: https://www.paypal.me/djmixemir

Youtube: https://youtu.be/nzTLYGqce6M
Mixcloud: https://www.mixcloud.com/Mixemir/flarabamenco-vol1-mixed-by-mixemir/

Flamenco Chillout / Best Of Flamenco Oriental (Spanish / Arabic / Turkish / Persian / Indian).

Tracklist:
00:00 Leila - Jesse Cook
03:26 Night At The Casbah - Al Marconi
07:58 Ziroq - Ziroq
12:17 Media Luna - Doc K! (Dr.Kucho!)
18:24 On Walks The Night - Jesse Cook
24:48 Way To Alhambra - Denis Stern
32:58 Desert Flower - Guitarra Azul
38:32 Silk Route Suite Juntos (Together) - Hossam Ramzy & Rafa El Tachuela
40:35 Danseuses Du Nil - El Kado
45:43 Arabic Con Sabor - La Rumba
50:33 Flamenco Al Arabia - Zeb (The Spy From Cairo)
56:00 Alhambra Trance Flamenco - Oliver Shanti & Friends

Flarabamenco vol.1 (Flamenco Oriental Mix)

Música: Outono 
Autor e Interprete: Adauto Fernandes


Outono

Good Morning

The handsome and charismatic Italian tenor Franco Corelli first came to Seattle Opera in 1967 for Gounod’s “Roméo et Juliette.” Glynn Ross had to fight over Corelli with San Francisco Opera, who wanted him for the same time period. Rehearsals began in Seattle…but no Corelli. Conductor Anton Guadagno, on hand at the rehearsal, tried a bit of reverse psychology on the stellar tenor. He phoned Corelli in San Francisco: “Everything is okay; we have a substitute.” Corelli, Ross remembers, “was on the next flight to Seattle.”

Nobody who was in the house for the opening night will forget the electric atmosphere when Corelli emerged onto the Seattle Opera House stage to a huge burst of spontaneous applause from the cognoscenti. Other audience members glanced at the program: where was the tenor, the short, well-upholstered guy? Surely this tall, handsome Greek god was someone else. Then Corelli opened his mouth and began to sing: the audience was transfixed. Nobody had heard anything so glorious in Seattle. The ovations afterward were tremendous.

Ross actually did have to “shove him on stage,” as he recalls (Corelli was highly charismatic, but also extremely nervous), but the production was “a big success.” Moreover, Ross later wrote, “the presentation of the Roméo with Corelli was a new high-water mark for Seattle in the mind of Kurt Herbert Adler in San Francisco, because we had competed for Corelli, and won.”

Here, from a recording of those performances, Corelli sings Roméo’s aria “Ah, lève-toi soleil.” Anton Guadangno conducts the orchestra of Seattle Opera. 

Photo (Corelli, Guadagno, and Haraldo Lara, who sang Capulet) by Des Gates

FRANCO CORELLI as Roméo

Still remember my old Petrof and hours spent on it...
Composed by Mario Mauer
© 2014 Mario Mauer, all rights reserved.

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My Old Piano

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Elysian Conquest

um maracatu Pernambucano pra variar o estilo neste trabalho que está um  aconchego de se ouvir!

Ana Paula Nogueira- Antes de você me ter de volta- comp. Sampaio

Let Go by Frou Frou - String 8tet arrangement by Fiora

"Winter" is peppered with silvery pizzicato notes from the high strings, calling to mind icy rain

Antonio Vivaldi - Four Seasons - Winter - Allegro non molto

Otello - Act 4 - Piangea cantando nell'erma landa.. (excerpt)

La clemenza di Tito - Deh, se piacer mi vuoi (excerpt)

La voix humaine (excerpt)

Pamela Helen Stephen and the Orchestra of Opera North rehearse 'When I Am Laid In Earth' from Purcell's Dido & Aeneas

Dido & Aeneas - When I Am Laid in Earth (excerpt)

Elizabeth Caballero sings Mimì in Seattle Opera’s “La Bohème.” Here, from her aria “Donde lieta” she breaks up with her beloved Rodolfo but tells him to keep the pink bonnet he bought her, to remember her love. Carlo Montanaro conducts the orchestra of Seattle Opera. Photo by Elise Bakketun.


Seattle Opera LA BOHÈME "Donde Lieta"  Elizabeth Caballero as Mimì

Jennifer Black sings Mimì in Seattle Opera’s “La Bohème.” In Act Four, when the Bohemians give her a moment alone with Rodolfo, she says to him, Have they gone? I was pretending to sleep because I wanted to be alone with you. There are so many things I want to say to you...or only one, but great as the sea, like the sea, vast and endless: you are my love and my entire life!” Her Rodolfo is Michael Fabiano. Carlo Montanaro conducts the orchestra of Seattle Opera. Photo by Elise Bakketun.


Seattle Opera LA BOHÈME Jennifer Black as Mimì

After the first phrase of Musetta’s famous waltz, soprano Jennifer Zetlan emptied her champagne glass into Marcello’s lap, annoying him (Keith Phares), scandalizing Alcindoro (Tony Dillon), and delighting the chorus and audience. Carlo Montanaro conducts the orchestra of Seattle Opera. Photo by Elise Bakketun.

LA BOHÈME: Musetta's Waltz

Enregistrement public du concert inaugural du Bach Collegium Paris le vendredi 9 juillet 2010 à 20h30 en la Basilique Sainte-Clotilde (Paris 7e).

Patrizia METZLER, directeur musical.
Chiara SKERATH, soprano.
Antoine LE ROUX, contre-ténor.
David TRICOU, ténor.
Émilien HAMEL, baryton.

Jean-Sébastien BACH (1685-1750)
Johann Sebastian BACH (1685-1750)
Cantate BWV 147 "Herz und Mund und Tat und Leben"
"Jesus bleibet meine Freude" (choral final)

J.-S. Bach écrivit la cantate 147 pour célébrer la fête de la Visitation de la Vierge Marie, et la première exécution de la pièce date de sa première année à la Thomaskirche de Leipzig, le 2 juillet 1723. Il avait composé en 1716, lors de son séjour à Weimar, une pièce du même nom, comportant six mouvements : elle devait y être jouée à l'occasion du quatrième dimanche de l'Avent.

Les révisions apportées à l'œuvre pour son exécution à Leipzig inclurent des citations conséquentes tirées du Cantique de Marie — le Magnificat de l'Évangile selon Luc (1, 46-56) —, lui permettant ainsi de remplir les conditions liturgiques de la fête de la Visitation. Le texte de l'œuvre originelle de Weimar fut composé par le librettiste Salomon Franck, et bien qu'il ne fût pas inapproprié pour la fête de la Visitation, Bach choisit d'étendre l'œuvre de six à dix mouvements, afin de satisfaire à la totalité des obligations liturgiques en vigueur à Leipzig.

Les mouvements additionnels comptaient trois récitatifs et le mouvement conclusif de la première section, et le mouvement final de l'œuvre fut également remplacé par une autre strophe du texte du choral de Martin Jahn.

... poursuivez votre lecture en consultant la page complète du programme :
www.bachcollegiumparis.org/repertoire/bach-cantate-bwv-147

Photographies Charles Hébert.
BACH COLLEGIUM PARIS

www.bachcollegiumparis.org
facebook.com/bachcollegiumparis
twitter.com/bachcollegiump

3. Bach - Cantate BWV 147 - "Jesus bleibet meine Freude" (choral final) — Bach Collegium Paris

16 Stumme Seufzer, Stille Klagen (Aria)         Bach: Cantata #199

Fur Elise

Opera North prides itself on a fresh approach to opera and musical performance. While opera productions on the main stage lead our work, we’re more than just an opera company. 