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sanzu-sanzu-sanzu · 9 months

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hello! your works continue to send me to a happy place and i’m grateful you’ve shared your writing :) breakfast with ran continues to be one i think of when washing the dishes and songs about toxic people one that keeps me up at times just thinking about how detailed it is. songs about toxic people, each piece and section felt like a breeze. the kind you feel when you’re outside and have a moment to be present yet u feel a lot and some of it is nostalgia. this makes zero sense and it all is meant as a compliment from the bottom of my heart. essentially if for me it’s comforting to hear wind chimes ringing with autumn breezes, then that’s how i find your writing to be. i would love to know if u have any literature, movie, or song recs if you don’t mind sharing. take care 💓

this message is so sweet 😭💖 i'm very happy my writing brings you to such a happy place 😭😭😭😭😭 i also find it very hard to explain how my love for something makes me feel haha and i think as long as it makes sense to you, it shouldn't matter however you express it! hehehe it makes me happy either way 💖

also, i'm so sorry for answering this so late, but i hope you still get to read this now! here are some media recs from me:

(i'm just gonna list my top 5/top 10 so it isn't overwhelming haha)

MOVIES

crouching tiger, hidden dragon

millennium actress

memories of murder

little miss sunshine

the beach

TV SERIES

midnight mass (horror)

succession

mad men

the haunting of hill house (horror)

the midnight club

(bonus) white lotus!!!

edit: and omg how can i forget: CHERNOBYL

LITERATURE

100 years of solitude (gabriel garcia marquez)

her body and other parties (carmen maria machado)

klara and the sun (kazuo ishiguro)

story of your life and others (ted chiang)

the haunting of hill house (shirley jackson) - trust me the book is a whole different experience

(bonus) the solitude of prime numbers (paolo giordano)

MUSIC (i’ll just list down my top favorite artists hehehe + my fav album/s by them!)

asian kung-fu generation (sol-fa)

my chemical romance (the black parade)

fall out boy (folie à deaux; so much (for) stardust)

yoko kanno (cowboy bebop soundtrack)

radiohead (in rainbows; hail to the thief)

alt-j (an awesome wave; this is all yours)

nujabes (modal soul)

paramore (brand new eyes; after laughter)

florence + the machine (lungs)

chopin in general!!!

i hope you're having a nice day!!!!

#anri 💌

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crisis-on-infinite-batblogs · 1 year

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I’m reading a novel right now about a Cuban American woman named Carmen who’s trying to become a comics writer in 1975 New York City. It’s a fantastic book with tons of cool art and twists and turns, and I will do a little write up when I finish it, but two of the characters just went on a date to an Italian restaurant named Giordano’s and now i SCREAM. The easter eggs are too good. They’re too powerful.

The book is Secret Identity by Alex Segura btw! (The link is to bookshop.org so you can support your local independent bookstores OR you could look at your local public library!)

#witty street name tag #dick giordano #Alex Segura #It’s queer as hell and has just a dash noir #I’ll save it for my offical book recommendation post but yeah #it’s so good

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archxngxl · 2 months

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MUSES

Muses with * next to their name have some dark bios that include dark themes such as abuse, murder, death, drugs etc so please be aware!

Alice Robinson* (SHE/HER) , 28, Heterossexual, Medium / Hotel Receiptionist – OLIVIA COOKE

Aaliyah Razek (SHE/HER), 26 – 30, Heterosexual, Forensic Anthropologist – MAY CALAMAWY

Renata Reyes (SHE/HER) , 28 – 30, Bisexual, Doctor – ADRIA ARJONA

Beatriz Giordano* (SHE/HER), 35 – 40, Bisexual, Mob Boss – MORENA BACCARIN

Laura Di Vittorio* (SHE/HER) , 27, Heterossexual, Mob Boss – VICTORIA PEDRETTI

Ashley Winters (SHE/HER), 23, Heterosexual, Bassist of ‘The Cardinals’ – SOPHIE THATCHER

Lisa Grant (SHE/HER), 23, Bisexual, Guitarist of ‘The Cardinals’ - RUBY CRUZ

Joanna Hendrix (SHE/HER), 23 – 24, Heterosexual, Lead Singer of ‘The Cardinals’ – SAMANTHA LOGAN

Brianna Cohen* (SHE/HER), 36 – 44, Bisexual, Assassin – JESSICA CHASTAIN

Veronica Castillo* (SHE/HER). 35 - ???, Heterosexual, Accountant & Vampire – MARTHA HIGAREDA

Aida Davtyan* (SHE/HER), 27 - ???, Demisexual Biromantic, Baker & Vampire – ANGELA SARAFYAN

Cleo Bautista* (SHE/HER), 29, Heterosexual, Bartender – SHAY MITCHELL

Darcy Morgan (SHE/HER), 29, Heterosexual, Tattoo Artist – WILLA FITZGERALD

Florence Cameron (SHE/HER), 28 – 32, Heterosexual, Singer – RILEY KEOUGH

Eris Laviscount (SHE/HER), 23 – 25, Heterosexual,

Layla Hassan (SHE/HER), 29, Heterosexual, Opera Singer – PINAR DENIZ

---

Uriel (THEY/THEM), ???, Pansexual, Angel – EMMA DARCY

Carmen Jimenez (THEY/THEM), 24, Pansexual, Drummer of ‘The Cardinals’ – LIZETHE SELENE

---

Abel Prince (HE/HIM), 29 – 32, Heterosexual, Detective – LAKEITH STANFIELD

Lorenzo Rossi* (HE/HIM), 39 - ???, Heterosexual, Banker & Vampire – BEN BARNES

Erik Karlsen* (HE/HIM), 32 - ???, Pansexual, Writer & Vampire – MICHIEL HUISMAN

Joaquin Castro (HE/HIM), 38 – 43, Heterosexual, DEA Agent – GABRIEL LUNA

Santiago Castro (HE/HIM), 30, Heterosexual, ??? – DANNY RAMIREZ

Dominic Price* (HE/HIM), 34, Heterosexual, Drug Kingpin – GARRETT HEDLUND

Naveen Bhaskar (HE/HIM), 36, Pansexual, Marine Biologist – RAHUL KOHLI

Santino ‘Sonny’ Caputo (HE/HIM), 30 – 32, Heterosexual – CASEY DEIDRICK

Salvatore Colombo (HE/HIM), 32 – 35, Heterosexual, Italian Mob Capo – DJ COTRONA

Raphael Colombo (HE/HIM), 48, Heterosexual, Italian Mob Underboss – KEANU REEVES

George O’Neill (HE/HIM), 32, Heterosexual, Irish Mob Enforcer / Pianist – OLIVER JACKSON COHEN

Michael Davis* (HE/HIM), 46, Heterosexual, Detective – MATTHEW MCCOUNAGHEY

Simon ‘Booker’ Davis* (HE/HIM), 46, Heterosexual, Drug Kingpin / Arms Dealer - MATTHEW MCCOUNAGHEY

Hunter Morrison (HE/HIM), 25, Heterosexual, Up and coming Actor – MASON GOODING

Daniel ‘Danny’ Liu (HE/HIM), 27 – 29, Bisexual, Tattoo Artist – DEREK LUH

#muse list

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greatoperasingers · 5 months

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Luciano Pavarotti

After a bit of waiting, my second blog is finally up... the name is self-explanatory, and who better a great opera singer to kick this blog off with than the late Luciano Pavarotti (1935-2007).

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The first time I heard Luciano Pavarotti's voice, it was on a recording of Puccini's Madama Butterfly; this was the famous recording with Luciano's childhood friend Mirella Freni (who, incidentally, never sang the part on stage). Luciano had sung the part of Pinkerton a couple of times on record; according to the BBC Classical Music website, the very first time he did so was in 1963 in Northern Ireland's Grand Opera House. He performed this role only a few times early in his career; however, he did sing Pinkerton's short aria "Addio, fiorito" in concert in his later years.

Hailing from Modena in Italy, Luciano Pavarotti had loved singing since he was a boy, however an impromptu rendition of "Vesti la giubba" (from Leoncavallo's Pagliacci) at the age of 5, made his neighbors tell him to shut up. Luciano began his formal training as a young adult under Arrigo Pola, and he made his operatic debut as Rodolfo in Puccini's La Boheme at Reggio Emilia in 1961. This role would become one of his most renowned roles, and one with which he would make several of his opera house debuts. The story goes that during one performance of Boheme, Luciano delivered Rodolfo's act 1 aria "Che gelida manina" - which contains a famous high C near the end - and as he finished the aria, even the soprano standing next to him came completely out character, turned to him, and joined the congregation in applause!

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Over time Luciano would associate himself largely with the operas of Verdi and Puccini. He himself has confessed that he has performed the role of Cavaradossi in Puccini's Tosca more than any other role in his career. He has also done the Duke in Verdi's Rigoletto, Alfredo in Verdi's La Traviata, Radames in Verdi's Aida, the title roles in Verdi's Il Trovatore, Verdi's Don Carlo, and Giordano's Andrea Chenier, and perhaps most famously, Calaf in Puccini's Turandot.

The role of Calaf has largely been associated with Luciano because of the Act 3 aria, "Nessun dorma", which needs no introduction. Luciano sang Calaf on stage only twice in his career - in 1977 at San Francisco, with Montserrat Caballe as Turandot and Riccardo Chailly at the baton; and again 20 years later in 1997 at the Metropolitan Opera in New York, with Jane Eaglen as Turandot and Maestro James Levine conducting. The latter recording is one of the most difficult to find; several audio excerpts exist online, as does a small video of him singing the "No no principessa altera" from Act 2, complete with its long, seemingly unending high C (see video below), but to date there is no known complete audio or video of this performance. The Met has yet to announce a release.

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The relationship between Luciano and Levine has long been one of the best ever; many are aware that both were more than just friends or colleagues. It was "Jimmy" who encouraged Luciano to expand his repertory and take on more roles (I have discussed a lot about this in my Pride Month tribute post to James Levine in my mane blog). Under Levine's guidance, Luciano took on such demanding roles as Calaf and Chenier, as well as - yes, this is wacky but legit - the Italian Singer in Richard Strauss's Der Rosenkavalier in 1982!

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And Levine didn't stop there; he encouraged Luciano to take on more, language-wise. Luciano admitted in his autobiography that he loved French opera, and two roles he always wanted to sing on stage were the title role in Massenet's Werther and Don Jose in Bizet's Carmen. Indeed, Werther's Act 3 aria "Pourquoi me reveiller?" had always been one of Luciano's favorites to perform live as a concert piece - he even did so at one of the Three Tenors concerts, as you can see in this next video.

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Luciano was all set to do his first Werther in 1991 at Covent Garden; but the performance was taken over by the British conductor George Solti, who decided that the performance would be a concert performance of Verdi's Otello instead.

Then the cancelations began, those which Luciano became very infamous for in his later years. In 1996, not long after doing his first Chenier under Levine, Luciano was going to do his first Don Jose at a Xmas performance of Carmen, with Waltraud Meier in the title role (and again with Levine conducting); but - shockingly - he fell ill and canceled at the eleventh hour. In her book, Molto Agitato, reporter Johanna Fiedler recounts that when it was announced that Luciano had called in ill and was canceling Don Jose, the Met's general manager Joe Volpe allegedly said to the audience in a pre-show announcement: "The good news is that Mr Pavarotti asked me to send you all his holiday greetings. The bad news is that he sends you his greetings from Modena." Luciano was understudied in the role of Don Jose for that performance by his good friend, tenor Placido Domingo. (Luciano did, however, recover in time to perform Calaf the year after.)

Luciano never stopped trying new things out. In 1994, for the soundtrack of the Charlie Sheen movie The Three Musketeers, he recorded the theme song "All for love" with Bryan Adams, one of his first forays into modern popular music:

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Of course, Luciano never lost his roots; he was no stranger to the traditional Arie Antiche, the series of 24 Italian songs and arias from the 1700s compiled by Alessandro Parisotti which today are used primarily for music pedagogy, especially vocal auditions. In fact, he adored these arias, and always opened every recital with one. Here is Luciano's rendition of "Caro mio ben", perhaps the single most infamous Arie Antiche ever, accompanied by La Scala's music director Riccardo Muti on piano, from 1995:

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As the new millennium began, Luciano performed Radames in Verdi's Aida at the Met in 2001, with Deborah Voigt in the title role and again with Levine conducting. His farewell to the stage was in 2004 as Cavaradossi in Puccini's Tosca, one of his most renowned roles, with Carol Vaness in the title role, Samuel Ramey as Scarpia, and again with his beloved "Jimmy" Levine at the podium.

The world mourned Luciano's loss in September 2007, after he passed away at the age of 72, reportedly of a heart attack due to his weight, with which he struggled for much of his life. We are all the poorer for Luciano's loss. His opera performances on video and record will be his everlasting memorial.

Here, to round it up, is a full-length video of Luciano giving a masterclass at Juilliard in New York in 1979:

#luciano pavarotti #james levine #Youtube

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coversbeat · 2 years

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BURANA PRODUCCIÓN M O N U M E N T A L Filippa Giordano

Carmina Burana Producción Monumental con 250 artistas en escena,regresa a México este 4 y 5 de octubre en el Auditorio Nacional. La muyesperada presentación de este espectáculo busca agasajar a su públicocon nuevos elementos.Este año Carmina Burana Producción Monumental contará con laparticipación especial de la extraordinaria Filippa Giordano,interpretando célebres momentos de la ÓPERA CARMEN de…

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cinquecolonnemagazine · 2 years

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Inventa un film

Si svolgerà a Lenola, in provincia di Latina, dal 3 al 7 agosto la 24 esima edizione di Inventa un Film, il festival, ideato e diretto da Ermete Labbadia. Due le novità di quest’anno con una sezione dedicata ai lungometraggi stranieri e una ai cortometraggi, entrambe a tematica ambientale che si aggiungono all’ampia selezione dedicata, come ogni anno, ai cortometraggi. Inventa un film, giurie Nella giuria lungometraggi troviamo: Salvatore De Mola, Enrico Magrelli, Dario Gorini e Simone Isola. Per la giuria cortometraggi ci saranno tra gli altri Alessandro Celli, Ester Pantano, Liliana Fiorelli, Mariasole di Maio, Alessandra Masi, Angela Curri, Azzurra Martino e Antinea Radomska. Tra le categorie principali la sezione “Oro invisibile” composta da sei lungometraggi e pensata per dare visibilità ai film italiani non adeguatamente distribuiti nelle sale. Si va da Governance-Il prezzo del potere di Michael Zampino con Massimo Popolizio e Vinicio Marchioni, sull’indispensabile ricerca della verità nonostante questa possa interferire con gli interessi economici e personali, a L’afide e la formica di Mario Vitale su un’adolescente musulmana e un ex maratoneta. E poi ancora: Un mondo in più di Luigi Pane con Francesco Ferrante, Denise Capezza e Francesco Di Leva, storia che si svolge in un difficile quartiere della periferia romana. Documentari Passando ai documentari, si spazia da 65 rose di Davide Del Mare sulla Fibrosi Cistica; Il caso Braibanti di Carmen Giardina e Massimiliano Palmese su Aldo Braibanti, intellettuale eretico del Novecento italiano e infine Se dicessimo la verità di Giulia Minoli e Emanuela Giordano, un racconto per conoscere gli imprenditori che denunciano, i magistrati che indagano, i giornalisti che non si tirano indietro nonostante le minacce, i parenti delle vittime della mafia che non gettano la spugna. Dopo “Inventa un film dalla quarantena”, che ha accompagnato il festival nel 2020-21, quest’anno l’ambiente sarà protagonista di ben due sezioni a tema: quella dei cortometraggi italiani e quella dei lungometraggi stranieri che si svolgerà nella giornata invernale del festival. Cortometraggi Per la nuova sezione dedicata ai cortometraggi a tematica ambiente troviamo otto titoli: False alarm di Lu Pulici e Josep Piris, Life cycle di Adriana Perra, L’impianto umano di Andrea Sbarbaro, Sauvage di Giacomo Bordonali, This is fine di Gianmarco Nepa, Un sogno di Himera di Gianfrancesco Iacono, Una nuova voce di Peter Marcias e Uno dopo l’altro di Valerio Gnesini. Read the full article

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inarteziogio · 4 years

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#upas #reaction #un posto al sole #marina Giordano #nina soldano #teresa diacono #carmen scivittaro #viola bruni #ilenia lazzarin

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infinitelytheheartexpands · 2 years

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Yo i’m kind of a newb who got into opera during the pandemic thanks to all the free livestreams. I’ve seen like 15 operas (more if you include different performances) but I know that doesn’t even cover most of the standard repertoire. Any recs for a newbie that you consider absolutely must-watches?

hey hey! so I followed up with you and asked for a list of what operas you’ve seen and what you liked. (And I commend you for your taste, your list is fabulous.) based on that list, here are my Thoughts:

your Favorites (so far) list included the following:

Salome

Les contes d’Hoffmann

Le nozze di Figaro

Don Giovanni

The Fiery Angel

The Medium

Rigoletto

SO:

-it doesn’t look like you’ve seen any other Richard Strauss operas. I’d recommend you check some out; given your list, based on what I’ve heard I’d recommend you particularly look into Elektra and Die Frau ohne Schatten. personally I’ve only seen Elektra once and didn’t really like it and I’ve never seen Frau ohne Schatten, but given that your list of favorites runs towards the darker/edgier side of things, those are definitely worth checking out.

You’ve seen Nozze, you’ve seen Giovanni, now you need to complete the trifecta with Così fan tutte, BUT that opera is best approached if you just accept that everyone in that opera is a shitbag and it is complete moral anarchy.

-I am also legally obligated to recommend Stravinsky’s The Rake’s Progress and will refer you to @madmozarteanfelinefantasy.

—and you MUST watch Rossini’s Il Barbiere di Siviglia. absolute classic.

For things related to Hoffmann (including other potential operas you may like), I will be referring you over to Tumblr’s resident Hoffmann expert, @monotonous-minutia.

I’ve never seen either The Fiery Angel or The Medium. Based on what I’ve heard both of those are in the category of “creepy/disturbing early 20th-century operas”, and as such a few operas I’d recommend checking out are Korngold’s Die tote Stadt, Kurt Weill’s Rise and Fall of the City of Mahagonny, and Prokofiev’s The Gambler and (if you want something less disturbing and more just straight-up bizarre) L’amour des trois oranges.

Rigoletto! Hurray! Good Verdi choice. This, Don Carlo(s), and The Scottish Opera (as many of us call it) seem to be the only three Verdi operas you’ve watched so far. Good choices, all. They’re all also quite dark. Other dark Verdi operas worth looking into are (in order of when Verdi wrote them) I due Foscari, I masnadieri, Luisa Miller, Il trovatore, Simon Boccanegra, and La forza del destino. But really, as a Verdi fanatic, just about ANY Verdi opera is a treat. literally just. go pick a Verdi opera at random and you will almost certainly like it.

and for dark classic operas, you gotta watch the Gothic melodrama gloriousness that is Donizetti’s Lucia di Lammermoor.

The other operas you liked:

-Bluebeard’s Castle

-Cavalleria Rusticana/Pagliacci

-Don Carlos

-Die Entführung Aus Dem Serail

-Faust

-Hansel and Gretel

-Macbeth

-La Sonnambula

-Tosca

-Turn of the Screw

-Vanessa

-Die Zauberflöte

I have seen most but not all of these. Some observations:

You seem to be into verismo/the general melodramatic late 19th and early 20th century operas. Pretty much any Puccini will fit the bill (I particularly recommend Il trittico, three one-act operas all on the theme of concealing death and ranging from a melodramatic thriller to a comedy). Other operas to check out include Ponchielli’s La gioconda (the source of the iconic Dance of the Hours), Giordano’s Andrea Chenier and Fedora, Cilea’s Adriana Lecouvreur, and Riccardo Zandonai’s Francesca da Rimini. And of course, Bizet’s Carmen.

Bluebeard’s Castle is not quite like anything else in the repertoire. The Met did a great production a few years back where they paired it with Tchaikovsky’s Iolanta, a surprisingly good fit. That’s an opera you should check out (although the Met production features a Certain Soprano Who Shall Not Be Named). actually, any Tchaikovsky is good even though it’s nothing like Bartók.

you’d probably like Leos Janacek—realistic plots, great music, lots of pain and suffering. I’ve seen Jenufa (which is just DEVASTATING and also infuriating) and Osud. Both are excellent.

re: Faust: check out Roméo et Juliette if you like Gounod’s music style. also if you like his music style, check out pretty much any Massenet opera (Werther is good if you like Suffering and can put up with Tenors Being Tenors). in terms of Faust adaptations, Berlioz’s La damnation de Faust (technically not an opera but yeah) and Boito’s Mefistofele are both excellent in different ways.

some of the other operas on your list suggest you like operas based on fairy tales and/or with an otherworldly feel. recommendations this include Dvorak’s Rusalka, Debussy’s Pelléas et Mélisande, Massenet’s Cendrillon, Rossini’s La cenerentola, and (though I’ve never seen any of them) several of Rimsky-Korsakov operas are based somewhat on Russian folk tales, if my understanding is correct.

La sonnambula! I’m not a huge Bellini fan personally but this one’s a fun one. I do really love Norma if you want more Bellini. If you like Bel Canto Hijinks in general, I recommend any Rossini or Donizetti comedy. based on the specific liking of La sonnambula, I recommend Rossini’s La gazza ladra and Donizetti’s L’elisir d’amore.

-other good comedies from the two of them: Il viaggio a Reims and Le Comte Ory (Rossini) and Viva la mamma!, La fille du régiment, and Don Pasquale (Donizetti).

You like singspiel! nice. German operetta will treat you well then. Johann Strauss II’s Die Fledermaus and Franz Lehar’s Die lustige Witwe are classics and rightfully so.

you also seemed to not have a great initial experience with French operetta [specifically Meyerbeer’s L’Étoile du Nord], but do check out any of Offenbach’s operettas since you loved Hoffmann, or Emmanuel Chabrier’s L’Étoile, which is completely unrelated to the Meyerbeer opera of a similar name. also Ravel’s L’heure espagnole, which does not have spoken dialogue but which is an utter delight.

I’ve never seen Turn of the Screw but I have seen a few other Britten operas—Peter Grimes, Billy Budd, and A Midsummer Night’s Dream. all great. you’d probably particularly like A Midsummer Night’s Dream.

sorry, never seen Vanessa either, but on the subject of mid-20th-century American operas, go check out Bernstein’s Trouble in Tahiti (particularly nice if you like jazz) and Carlisle Floyd’s Susannah (which is DARK).

other general points:

-if you can find a good, fun production of a Baroque opera, watch it. fun Baroque opera productions are some of the most fun things ever.

-take your time with Wagner. go whenever you’re ready. my first Wagner was Lohengrin and that wasn’t until five YEARS into my opera obsession.

-my fellow operablr friends, if y’all have anything to add, please do!

-just be curious, reach out if you need anything, and you should be just fine! don’t be afraid, we try to be a welcoming place, if you have any other questions or need more detailed recs, just let us know! ❤️

happy watching and hope this helps!

#opera #opera tag #opera asks #opera recommendations

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justforbooks · 3 years

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Enrico Caruso was born on February 25, 1873. He was an Italian operatic tenor. He sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles (74) from the Italian and French repertoires that ranged from the lyric to the dramatic. One of the first major singing talents to be commercially recorded, Caruso made 247 commercially released recordings from 1902 to 1920, which made him an international popular entertainment star.

Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera before he died at the age of 48. Thanks in part to his tremendously popular phonograph records, Caruso was one of the most famous personalities of his day, and his fame has endured to the present. He was one of the first examples of a global media celebrity. Beyond records, Caruso's name became familiar to millions through newspapers, books, magazines, and the new media technology of the 20th century: cinema, the telephone and telegraph.

Caruso toured widely both with the Metropolitan Opera touring company and on his own, giving hundreds of performances throughout Europe, and North and South America. He was a client of the noted promoter Edward Bernays, during the latter's tenure as a press agent in the United States. Beverly Sills noted in an interview: "I was able to do it with television and radio and media and all kinds of assists. The popularity that Caruso enjoyed without any of this technological assistance is astonishing."

Caruso biographers Pierre Key, Bruno Zirato and Stanley Jackson attribute Caruso's fame not only to his voice and musicianship but also to a keen business sense and an enthusiastic embrace of commercial sound recording, then in its infancy. Many opera singers of Caruso's time rejected the phonograph (or gramophone) owing to the low fidelity of early discs. Others, including Adelina Patti, Francesco Tamagno and Nellie Melba, exploited the new technology once they became aware of the financial returns that Caruso was reaping from his initial recording sessions.

Caruso made more than 260 extant recordings in America for the Victor Talking Machine Company (later RCA Victor) from 1904 to 1920, and he and his heirs earned millions of dollars in royalties from the retail sales of these records. He was also heard live from the stage of the Metropolitan Opera House in 1910, when he participated in the first public radio broadcast to be transmitted in the United States.

Caruso also appeared in two motion pictures. In 1918, he played a dual role in the American silent film My Cousin for Paramount Pictures. This film included a sequence depicting him on stage performing the aria Vesti la giubba from Leoncavallo's opera Pagliacci. The following year Caruso played a character called Cosimo in another film, The Splendid Romance. Producer Jesse Lasky paid Caruso $100,000 each to appear in these two efforts but My Cousin flopped at the box office, and The Splendid Romance was apparently never released. Brief candid glimpses of Caruso offstage have been preserved in contemporary newsreel footage.

While Caruso sang at such venues as La Scala in Milan, the Royal Opera House, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he appeared most often at the Metropolitan Opera in New York City, where he was the leading tenor for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West.

Caruso's voice extended up to high D-flat in its prime and grew in power and weight as he grew older. At times, his voice took on a dark, almost baritonal coloration. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively.

Repertoire

Caruso's operatic repertoire consisted primarily of Italian works along with a few roles in French. He also performed two German operas, Wagner's Lohengrin and Goldmark's Die Königin von Saba, singing in Italian, early in his career. Below are the first performances by Caruso, in chronological order, of each of the operas that he undertook on the stage.

World premieres are indicated with **.

L'amico Francesco (Morelli) – Teatro Nuovo, Napoli, 15 March 1895 (debut)**

Faust – Caserta, 28 March 1895

Cavalleria rusticana – Caserta, April 1895

Camoens (Musoni) – Caserta, May 1895

Rigoletto – Napoli, 21 July 1895

La traviata – Napoli, 25 August 1895

Lucia di Lammermoor – Cairo, 30 October 1895

La Gioconda – Cairo, 9 November 1895

Manon Lescaut – Cairo, 15 November 1895

I Capuleti e i Montecchi – Napoli, 7 December 1895

Malia (Francesco Paolo Frontini) – Trapani, 21 March 1896

La sonnambula – Trapani, 25 March 1896

Mariedda (Gianni Bucceri [it]) – Napoli, 23 June 1896

I puritani – Salerno, 10 September 1896

La Favorita – Salerno, 22 November 1896

A San Francisco (Sebastiani) – Salerno, 23 November 1896

Carmen – Salerno, 6 December 1896

Un Dramma in vendemmia (Fornari) – Napoli, 1 February 1897

Celeste (Marengo) – Napoli, 6 March 1897**

Il Profeta Velato (Napolitano) – Salerno, 8 April 1897

La bohème – Livorno, 14 August 1897

La Navarrese – Milano, 3 November 1897

Il Voto (Giordano) – Milano, 10 November 1897**

L'arlesiana – Milano, 27 November 1897**

Pagliacci – Milano, 31 December 1897

La bohème (Leoncavallo) – Genova, 20 January 1898

The Pearl Fishers – Genova, 3 February 1898

Hedda (Leborne) – Milano, 2 April 1898**

Mefistofele – Fiume, 4 March 1898

Sapho (Massenet) – Trento, 3 June (?) 1898

Fedora – Milano, 17 November 1898**

Iris – Buenos Aires, 22 June 1899

La regina di Saba (Goldmark) – Buenos Aires, 4 July 1899

Yupanki (Berutti)– Buenos Aires, 25 July 1899**

Aida – St. Petersburg, 3 January 1900

Un ballo in maschera – St. Petersburg, 11 January 1900

Maria di Rohan – St. Petersburg, 2 March 1900

Manon – Buenos Aires, 28 July 1900

Tosca – Treviso, 23 October 1900

Le maschere (Mascagni) – Milano, 17 January 1901**

L'elisir d'amore – Milano, 17 February 1901

Lohengrin – Buenos Aires, 7 July 1901

Germania – Milano, 11 March 1902**

Don Giovanni – London, 19 July 1902

Adriana Lecouvreur – Milano, 6 November 1902**

Lucrezia Borgia – Lisbon, 10 March 1903

Les Huguenots – New York, 3 February 1905

Martha – New York, 9 February 1906

Madama Butterfly – London, 26 May 1906

L'Africana – New York, 11 January 1907

Andrea Chénier – London, 20 July 1907

Il trovatore – New York, 26 February 1908

Armide – New York, 14 November 1910

La fanciulla del West – New York, 10 December 1910**

Julien – New York, 26 December 1914

Samson et Dalila – New York, 24 November 1916

Lodoletta – Buenos Aires, 29 July 1917

Le prophète – New York, 7 February 1918

L'amore dei tre re – New York, 14 March 1918

La forza del destino – New York, 15 November 1918

La Juive – New York, 22 November 1919

Caruso also had a repertory of more than 500 songs. They ranged from classical compositions to traditional Italian melodies and popular tunes of the day, including a few English-language titles such as George M. Cohan's "Over There", Henry Geehl's "For You Alone" and Arthur Sullivan's "The Lost Chord".

On 16 September 1920, Caruso concluded three days of recording sessions at Victor's Trinity Church studio in Camden, New Jersey. He recorded several discs, including the Domine Deus and Crucifixus from the Petite messe solennelle by Rossini. These recordings were to be his last.

Dorothy Caruso noted that her husband's health began a distinct downward spiral in late 1920 after he returned from a lengthy North American concert tour. In his biography, Enrico Caruso Jr. points to an on-stage injury suffered by Caruso as the possible trigger of his fatal illness. A falling pillar in Samson and Delilah on 3 December had hit him on the back, over the left kidney (and not on the chest as popularly reported). A few days before a performance of Pagliacci at the Met (Pierre Key says it was 4 December, the day after the Samson and Delilah injury) he suffered a chill and developed a cough and a "dull pain in his side". It appeared to be a severe episode of bronchitis. Caruso's physician, Philip Horowitz, who usually treated him for migraine headaches with a kind of primitive TENS unit, diagnosed "intercostal neuralgia" and pronounced him fit to appear on stage, although the pain continued to hinder his voice production and movements.

During a performance of L'elisir d'amore by Donizetti at the Brooklyn Academy of Music on December 11, 1920, he suffered a throat haemorrhage and the performance was canceled at the end of Act 1. Following this incident, a clearly unwell Caruso gave only three more performances at the Met, the final one being as Eléazar in Halévy's La Juive, on 24 December 1920. By Christmas Day, the pain in his side was so excruciating that he was screaming. Dorothy summoned the hotel physician, who gave Caruso some morphine and codeine and called in another doctor, Evan M. Evans. Evans brought in three other doctors and Caruso finally received a correct diagnosis: purulent pleurisy and empyema.

Caruso's health deteriorated further during the new year, lapsing into a coma and nearly dying of heart failure at one point. He experienced episodes of intense pain because of the infection and underwent seven surgical procedures to drain fluid from his chest and lungs. He slowly began to improve and he returned to Naples in May 1921 to recuperate from the most serious of the operations, during which part of a rib had been removed. According to Dorothy Caruso, he seemed to be recovering, but allowed himself to be examined by an unhygienic local doctor, and his condition worsened dramatically after that. The Bastianelli brothers, eminent medical practitioners with a clinic in Rome, recommended that his left kidney be removed. He was on his way to Rome to see them but, while staying overnight in the Vesuvio Hotel in Naples, he took an alarming turn for the worse and was given morphine to help him sleep.

Caruso died at the hotel shortly after 9:00 a.m. local time, on 2 August 1921. He was 48. The Bastianellis attributed the likely cause of death to peritonitis arising from a burst subphrenic abscess. The King of Italy, Victor Emmanuel III, opened the Royal Basilica of the Church of San Francesco di Paola for Caruso's funeral, which was attended by thousands of people. His embalmed body was preserved in a glass sarcophagus at Del Pianto Cemetery in Naples for mourners to view. In 1929, Dorothy Caruso had his remains sealed permanently in an ornate stone tomb.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

#JUST FOR BOOKS #Enrico Caruso #Famous Birthdays

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vera-dauriac · 4 years

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Oh, cool. The Met is posting the program for the Jonas Kaufmann concert this weekend. For the curious:

“Recondita armonia”

From Puccini’s Tosca

“E lucevan le stelle” From Puccini’s Tosca

“La fleur que tu m’avais jetée” From Bizet’s Carmen

“L’amour, l’amour … Ah! lève-toi, soleil!” From Gounod’s Roméo et Juliette

“O paradis sorti de l’onde” From Meyerbeer’s L’Africaine

“Ah! Tout est bien fini ... O Souverain, ô juge, ô père!” From Massenet’s Le Cid

“Cielo e mar” From Ponchielli’s La Gioconda

“L’anima ho stanca” From Cilea’s Adriana Lecouvreur

“Ombra di Nube” By Licinio Refice

“Un dì, all’azzurro spazio” From Giordano’s Andrea Chénier

“È la solita storia” From Cilea’s L’Arlesiana

“Nessun dorma” From Puccini’s Turandot

#jonas kaufmann #the met

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demoura · 3 years

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UMA NOITE NA OPÉRA” ; CANTORES DE GRANDE QUALIDADE ,UMA ORQUESTRA EM BOA FORMA E UM MAESTRO TALENTOSO BRILHARAM NO ÚLTIMO CONCERTO ANTES DO ENCERRAMENTO DA GULBENKIAN: embora os espectáculos caleidoscópio não sejam das minhas preferências musicais ontem “ uma noite na ópera” foi uma despedida em beleza na hora do encerramento de todas as actividades culturais até 30 de janeiro (por agora ) ...Sorte nossa a data da assinatura ! Os solistas eram de alto nível a começar pela soprano coqueluche Alyn Perez . Todas as criticas às suas actuações nas grandes casas de ópera exaltam a “ morbidezza “ de seu canto. Tebaldi e de Los Angeles são as referências evocadas para “o som delicado, de textura fina, mas dramaticamente incisivo da voz de Pérez cujo rosto reflecte toda a emoção vívida da música. “ Não tem atitudes de diva e trazia o vestido de Rene Ruiz ( fotografia de Dário Acosta) Cantou árias famosas da Tosca com o tenor Guerrero mas para mim o maior impacto veio das exigentes árias “Carlo Gérard?”“La mamma morta”de Andre Chenier e de S’ khorosho… (Como tudo aqui é belo…), op. 21 nº 7 de Sergei Rachmaninov. Mas a grande surpresa foram os cantores russos .Margarita Gritskova meio -soprano e o barítono Roman Burdenko . Desde 2012 a mezzo russa integra o elenco da Ópera Estatal de Viena, onde em 2018 cantou com grande êxito Carmen de Bizet da qual ouvimos árias ontem . A russa entra no palco e assume o controle .Desde sua primeira aparição , a voz acaricia seduz ; um belo timbre, segurança nas notas altas e uma atraente presença cénica . Teve prestações notáveis em peças raramente ouvidas como “Da, chas Nastal!”da Donzela de Orleães de Piotr Ilitch Tchaikovsky, a Ária de Marfa da Khovanchtchina de Nikolai Rimsky-Korsakov,e e “I am easily assimilante”do Candide de Leonard Bernstein. Finalmente o elogio para o barítono russo Burdenko solista do teatro Marinsky desde 2017 que depois de uma ária de Escamillo da Carmen de Bizet cantou de forma magistral “Nemico della pátria” da opera Andrea Chénier de Umberto Giordano e a ária de Robert de Iolanta de Tchaikovsky. A Orquestra Gulbenkian está em boa forma e o seu jovem e talentoso maestro titular Lorenzo Viotti respondeu de forma brilhante aos desafios do programa . No final todos em polifonia cantaram Granada perante o entusiasmo do público . Foi a despedida ,por enquanto temporária ,da época 2020- 2021.A ver vamos ..  .

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polarishq · 4 years

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Below you’ll find the randomized results for today’s duels. The numbers to the left of each name are the amount of damage they sustained during the duel, with a handy dandy key to help. Please discuss details of how we got here with the other member of your duel! If you feel like there is just no way to make the damages and victories work within your given pairs, please contact admin Leigh or Jeanne for a reroll, though we encourage you to think outside of the box with how these go. In addition to the event tag, please also tag any specific posts related to the deals using polarisdarkside.duel. There’s no deadline for this within the context of the event, but we do have other goodies planned so try to make these bad boys go down in a timely manner. Happy plotting!

1 = No Damage

2 - 3 = Minimal Damage

4 - 5 = Slight Damage

6 - 14 = Damage

15 - 17 = Heavy Damage

18 - 19 = Severe Damage

20 = Life Threatening Damage

EMMETT STEPHENSON (17) vs. MIMI RITTER (16)

Emmett walked away the victor after sustaining heavy damage. Mimi also sustained heavy damage.

ABBY ALCOTT (12) vs EMMY CHEUNG (17)

Abby walked away the victor after sustaining damage. Emmy sustained heavy damage.

BES MAGDY (8) vs SANTIAGO INCLÁN (3)

Bes walked away the victor after sustaining damage. Santiago sustained minimal damage.

BAST DERR (8) vs JULIAN MOORE (12)

Bast walked away the victor after sustaining damage. Julian sustained heavy damage.

ELOISE DELAURENTIS (2) vs ROBIN WRIGHT-YANG (15)

Eloise walked away the victor after sustaining damage. Robin sustained heavy damage.

ELLIS DAVIS (19) vs MARI ALVAREZ (10)

This duel ends in a draw. Ellis sustained heavy damage. Mari sustained damage.

NAOMI WALKER (5) vs ALEXANDRIA VANDERBILT III (4)

This duel ends in a draw. Both Naomi and Alexandria sustained slight damage.

CHARLOTTE GIORDANO (2) vs HARPER ASTRAEA (8)

Charlotte walked away the victor after sustaining minimal damage. Harper sustained damage.

MANON de MAZIÉRE (1) vs MARY NJOO (15)

Manon walked away the victor without a scratch. Mary sustained heavy damage.

LAILA ASLAN (2) vs BETH BAKER (15)

Laila walked away the victor after sustaining minimal damage. Beth sustained heavy damage.

WINNIE CLARKE (5) vs LYSANDRA ALIGHERI (3)

Lysandra walked away the victor after sustaining minimal damage. Winnie sustained damage.

JILLIAN DOE (1) vs CECILIA JIMENEZ (11)

Jillian walked away the victor without a scratch. Cecilia sustained damage.

KAT WINTERS (18) vs TIEN HUYNH (13)

Kat walked away the victor after sustaining severe damage. Tien sustained damage.

PETAL PAEK (2) vs LAUREL HEARST (10)

Laurel walked away the victor after sustaining damage. Petal sustained minimal damage.

ATTICUS (1) vs ALIENA FERREIRA (12)

Aliena walked away the victor after sustaining damage. Atticus walked away without a scratch.

GRETCHEN SULLIVAN vs ESTHER HUGHES

Gretchen walked away the victor after sustaining severe damage. Esther sustained damage.

JINWOO YOON (20) vs MARGOT COLEMAN (20)

Jinwoo walked away the victor after sustaining life threatening damage. Margot sustained life threatening damage.

SAGE MANNOX (19) vs KELLAN CZERNY (18)

Sage walked away the victor after sustaining severe damage. Kellan sustained severe damage.

AURA NIX (4) vs ALARIC LAURIDSEN (8)

Aura walked away the victor after sustaining minimal damage. Julian sustained damage.

ODELIA CANTOR (17) vs CARMEN CANTOR (17)

Odelia walked away the victor after sustaining heavy damage. Carmen sustained heavy damage.

SAGE MANNOX (13) vs MOLLY HARRIS (7)

Sage walked away the victor after sustaining damage. Molly sustained damange.

OPHELIA BARBER (16) vs DAPHNE NIKOLAIDIS (1)

Daohne walked away the victor without a scratch. Ophelia sustained heavy damage.

VERENA BAHK (18) vs LENORA BAKER (16)

Lenora walked away the victor after sustaining heavy damage. Verena sustained severe damage.

LEN VANCE (10) vs LUC MORGANSTERN (7)

Luc walked away the victor after sustaining damage. Len sustained damage.

LOWELL CHANNING (16) vs BLAIR HARCOURT (3)

This duel ends in a draw. Lowell sustains heavy damage while Blair sustains minimal damage.

NOEMI SHEPARD (15) vs MABEL PETERSON (19)

This duel ends in a draw. Noemi sustains damage while Mabel sustains severe damage.

TOMMY BAKER (9) vs LIAM COLEMAN (14)

This duels ends in a draw. Tommy and Liam both sustain damage.

EVE THERON (7) vs MICAH MITSUZAWA-HUGHES (16)

Eve walked away the victor after sustaining damage. Micah sustained heavy damage.

CORI JIMENEZ (19) vs HALEY STERLING (4)

Cori walked away the victor after sustaining severe damage. Haley sustained slight damage.

GATSBY CARTWELL (17) vs JEMMA STERLING (7)

Gatsby walked away the victor after sustaining heavy damage. Jemma sustained damage.

#polarisdarkside.duel #polarisevent.darkside #polarisadmin

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buz-muet · 4 years

Video

youtube

FRANCO CORELLI SINGS AGAIN PUCCINI TOSCA " E LUCEVAN LE STELLE" LIVE 1955 RARE

In the summer of 1951, Corelli won the Maggio Musicale Fiorentino in Florence, earning a debut at Spoleto the following fall. He was originally scheduled to sing Radames in Verdi's Aïda and spent three months preparing the role with conductor Giuseppe Bertelli. However, Corelli eventually switched to Don José in Bizet's Carmen, feeling that at this point he lacked the technical finesse and legato for the role of Radamès. In November 1951, he made his debut at the Rome Opera as Manrico in Il trovatore opposite Maria Caniglia as Leonora. The next year he appeared in operas with smaller opera houses throughout Italy and on the Italian radio. In 1953 he joined the Rome Opera's roster of principal tenors where he spent much of his time performing through 1958. His first role with the company in 1953 was that of Romeo in Zandonai's rarely heard opera Giulietta e Romeo. Later that season he sang Pollione in Bellini's Norma opposite Maria Callas in the title role. It was the first time the two sang opposite one another and Callas immediately became an admirer of Corelli. The two performed frequently with each other over the next several years in a partnership that lasted to the end of Callas's career. While singing at the Rome Opera, Corelli also made numerous appearances with other opera houses both in Italy and internationally. He made his first appearance at La Scala in Milan in 1954, as Licinio in Spontini's La vestale opposite Callas's Giulia for the opening of the 1954-1955 season. He returned several more times to that house over the next five years, singing opposite Callas in productions of Fedora (1956), Il pirata (1958) and Poliuto (1960).[1] He also notably portrayed the role of Dick Johnson in a highly celebrated performance of La fanciulla del West at La Scala in 1956, opposite Gigliola Frazzoni and Tito Gobbi, which was broadcast live on Italian radio.[1] Other important debuts for Corelli soon followed, including his first appearances at: the Maggio Musicale Fiorentino in Florence and the Arena di Verona Festival in 1955; the Vienna State Opera, as Radamès, and the Royal Opera House, Covent Garden, in London, as Cavaradossi, in 1957;[1] the Teatro Nacional de São Carlos in Lisbon, the Lyric Opera of Chicago and the San Francisco Opera in 1958; and the Berlin State Opera in 1961. Among the many triumphs of the decade for Corelli were two highly celebrated performances at the Teatro di San Carlo in Naples, a 1958 appearance as Don Alvaro in La forza del destino opposite Renata Tebaldi as Leonora and a 1959 performance of Maurizio in Adriana Lecouvreur opposite Magda Olivero in the title role. During his early career, Corelli sang in a number of rare operas in which he triumphed including performances of Spontini's Agnese di Hohenstaufen, Handel's Giulio Cesare and Hercules, Prokofiev's War and Peace, and the world premiere of Guido Guerrini's Enea. By 1960 his active repertory included some 30 roles including the title role in Giordano's Andrea Chénier, Turiddu in Mascagni's Cavalleria rusticana, Rodolfo in Puccini's La bohème, and the title roles in Verdi's Don Carlo and Ernani. In 1957 Corelli met soprano Loretta di Lelio when she came backstage after one of his performances at the Rome Opera House to get his autograph. They began seeing each other romantically and married in 1958. After their marriage, Loretta gave up her fledgling opera career to serve as her husband's business manager, secretary, public relations agent, cook, and English translator. Their marriage ended upon Corelli's death forty-five years later. (Wikipedia)

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