Mont chauvet mussorgsky biography

He has proven an incomparably versatile artist, demonstrating skill as a Wagnerian, as a performer of Italian bel canto, and in Verdi's heavier.
The people grew up in a country where there was little musical cultivation, where there were small communities, and where the struggle for existence had been.
Biography, celebrity, and sociability.

•

San Diego Opera once again dispelled the myth that insufficient numbers of opera singers are available to cast the mature works of Giuseppe Verdi, by assembling a cast for “Aida” worthy of any opera house. With so many of the familiar late 20th century Verdian opera performers no longing performing (at least not the Verdi roles), the cast selected by San Diego Opera General Director Ian Campbell will include names not known to every Verdi enthusiast.

[Below: Indra Thomas as Aida; edited image, based on Cory Weaver photograph, courtesy of the San Diego Opera.]

However, as a Verdian veteran who has seen a significant majority of the major Verdian singers of the past five decades in performance, I was very pleased at the uniform quality of the six principals in San Diego. I will offer some stellar names from past times that I have seen perform the major “Aida” roles to match or exceed each of the San Diego performers, but I don’t think I could name a cast that I have seen where all six as a group e

•

Met broadcasts

This page itemises the surviving broadcasts from the Metropolitan Opera House in New York between 1931-2005. Some of the best singers in the world performed at the Met and their broadcasts captured many singers in their most famous roles as well as others who recorded very little commercially. Sound quality is variable and some of the early off-air recordings are very noisy, but from the 1936-7 season onwards some have very good sound, having been taken from the original NBC transcription discs (rather than from off-air). Many early broadcasts are not known to survive (click here for a list of lost broadcasts), and others are incomplete, but there is still a remarkable number that exist in good sound. After 1950 all the broadcasts are known to still exist and most survive in excellent sound derived from FM or transcription sources. The Met was comparatively late to broadcast in stereo (December 1973). Major holdings of Met broadcasts (aside from the Met archive itself) can be found in the Library of Congress (which holds the original NBC discs for the 1936-7 and
•
I. Setting the Scene
Reyer, 1907
Source: hberlioz.com
When Ernest Reyer died in 1909 a contemporary wrote that Reyer could descend into eternal rest with the knowledge that his name would not perish, because he had left behind him, as guardians of his memory, the two immortal figures of Sigurd and Salammbô. More than a century later, that immortality has vanished. None of his five operas are in the standard repertoire. Sigurd, rarely performed, is remembered as a French copy of Wagner’s Ring. Salammbôhas been produced only once since the 1940s, and then in an abridged version. Reyer is not immortal; he is not even a demi-god. His works have descended into Hades, and there his ghost wanders among the dismal shades. That said, Reyer’s works contain much that is beautiful and much that is impressive. Sigurdand Salammbôheld the stage for decades; and another opera, never recorded, may be a lost masterpiece, as good as Gounod’s Faust.

Reyer’s contemporaries saw him as a serious, innovative composer who, like his models Berlioz and Wagner