Born in Moscow, Natalia Osipova / Наталья Осипова began formal ballet training at the age of nine. From 1996 to 2004, she studied at the Moscow State Academy of Choreography (The Bolshoi Ballet Academy). From 1995 to 2004 she trained at the Moscow State Academy of Choreography and on graduating entered the corps of the Bolshoi Ballet, where she was promoted to principal in 2010.
In 2011 she left the Bolshoi to join the Mikhailovsky Ballet as a principal. Osipova has appeared as a guest artist with companies around the world. In March 2012 she became a principal of American Ballet Theatre, where she created the title role in Alexei Ratmansky’s The Firebird.
Her awards include Golden Masks for her performances in In the Upper Room (2008) and La Sylphide (2009), Critics’ Circle National Dance Awards (Best Female Dancer, 2007, 2010 and 2014), Positano Dance Awards (Best Female Dancer, 2008 and 2011) and a Benois de la Danse Award (Best Female Dancer, 2008).
Aksel Rykkvin’s latest album as a boy soprano, ‘Light Divine: Baroque music for treble and ensemble’ is available to buy or stream: http://hyperurl.co/LightDivine Laudate Dominum, from Vesperae solennes de confessore (K. 339) by Wolfgang Amadeus Mozart Aksel Rykkvin (treble) Oslo Domkor / Oslo Cathedral Choir IRIS kammerorkester / IRIS chamber orchestra Vivianne Sydnes (conductor) The performance was part of Desembertoner, which are free Christmas concerts with popular artists in Oslo Cathedral, sponsored by Nordea. Live recording on Dec 16th 2016.
The playlist 🎶 1. Principe del Deserto: Il Figlio E La Nostalgia 00:00–03:42 2. La Ragion Pura: Dedicato a Maria 03:43–08:21 3. The Sicilian Clan 08:22–12:18 4. This Kind of Love: Giovanna e Federico 12:19–16:14 5. Novecento: Romanzo 16:15–20:19 6. La Monaca di Monza: Falsa Tranquillita’ 20:20–23:26 7. Cinema Paradiso: Love Theme 23:27–26:13 8. La Califfa: Ricordo di un amico 26:14–27:52 9. Via Mala: Ninna Nanna Per Una Bambola 27:53–29:55 10. Matrimonio con Vizietto: Tu sei qui per me 29:56–31:59 11. La Califfa: Notturno 32:00–32:59 12. La banchiera: Amorosamente Scherzoso 33:00–35:37 13. Il Pentito: Messagio 35:38–38:19 14. La Monaca di Monza: Titoli 38:20–40:15 15. Novecento: Olmo e Alfredo 40:16–42:37 16. Mosca Addio: Suoni dai giardini 42:38–44:36 17. This Kind of Love: La madre 44:37–48:24 18. Principe del deserto: Morte di Mulay 48:25–50:51 19. La donna invisibile: Incontro trasversale 50:52–55:57 20. I Comme Icare: Sentimental 55:58–58:32 21. Matrimonio con Vizietto – Castelli di Scozia 58:33–01:01:51 22. Gioco Senza Fine: The Love Game 01:01:52–01:05:27 23. The Night and the Moment: A Candele Spente 01:05:28–01:08:21 24. Compańeros: A Meta’ Strada 01:08:22–01:10:14 25. My name is Nobody: A bird’s Tale 01:10:15–01:12:00 26. The Night and the Moment: Main Theme 01:12:01–01:15:27 27. Revolver: Anna 01:15:28–01:17:32 28. I Comme Icare: La Vérité et le Soleil 01:17:33–01:20:26 29. La Ragion Pura: Stella Cadente 01:20:27–01:24:38 30. La Califfa: Sotto la Pioggia 01:24:39–01:26:27
NANA MOUSKOURI | Su voz angelical llega al alma en cualquier idioma. Nos hermana a todos los seres de este planeta. Porque sólo con AMOR se llega al alma del resto de los seres humanos. | Bravo NANA [zuber norma bestriz fca]
(00:00) Gioachino Rossini: Overture from L’ITALIANA IN ALGERI (08:10) Gioachino Rossini: “La calunnia è un venticello” from IL BARBIERE DI SIVIGLIA (Štefan Kocán, bass) (13:22) Giuseppe Verdi: “Sempre libera” from LA TRAVIATA (Marina Rebeka, soprano & Pavol Breslik, tenor) (17:28) Jules Massenet: “Pourquoi me réveiller” from WERTHER (Piotr Beczala, tenor) (20:32) Umberto Giordano: “Nemico della patria” from ANDREA CHÉNIER (Franz Grundheber, baritone) (26:07) Umberto Giordano: “La mamma morta” from ANDREA CHÉNIER (Angela Marambio, soprano) (33:23) Richard Wagner: “Mannenruf” from GÖTTERDÄMMERUNG (Matti Salminen, bass & Chorus of the Deutsche Oper Berlin) (44:26) Giacomo Puccini: “O mio babbino caro” from GIANNI SCHICCHI (Agnes Baltsa, mezzo-soprano) (47:09) Gioachino Rossini: “Cruda sorte“ from L’ITALIANA IN ALGERI (Agnes Baltsa, mezzo-soprano) (51:08) Gaetano Donizetti: “Una furtiva lagrima” from L’ELISIR D’AMORE (Pavol Breslik, tenor) (55:57) Giacomo Puccini: “Sì. Mi chiamano Mimì” from LA BOHÈME (Krassimira Stoyanova, soprano) (1:01:06) Vincenzo Bellini: “Ah! Non credea mirarti… Ah! Non giunge” from LA SONNAMBULA (Nino Machaidze, soprano & Chorus of the Deutsche Oper Berlin) (1:09:45) Franz Lehár: “Lippen schweigen” from DIE LUSTIGE WITWE (Pavol Breslik, tenor) (1:13:08) Franz Lehár: “Freunde, das Leben ist lebenswert” from GIUDITTA (Piotr Beczala, tenor) (1:17:07) Franz Lehár: “Dein ist mein ganzes Herz” from DAS LAND DES LÄCHELNS (Nino Machaidze, Angela Marambio, Marina Rebeka & Krassimira Stoyanova, soprano; Agnes Baltsa, mezzo-soprano; Piotr Beczala & Pavol Breslik, tenor; Franz Grundheber, baritone; Štefan Kocán & Matti Salminen, bass)
I’ve heard Lena Horne sing this, Ella Fitzgerald sing this, Julie London, and Ava Gardner (from the 1951 movie) sing this, and NO ONE belts out this song with more enthusiasm, verve, raw energy, and great musical range, than Ms. von Stade here. Her jazzy rendition here makes the blood surge with joy, and makes you want to get up and dance! Bravo!! I look forward to discovering more of Ms. von Stade’s works like this and you should too!
In memoriam Jerry Hadley (June 16, 1952 – July 18, 2007) https://en.wikipedia.org/wiki/Jerry_H… * “Nobles seigneurs, salut” from “Les Huguenots” – von Stade * Duet from Act I of “Cherubin” – von Stade & Ramey * “Pourquoi me reveiller” from “Werther” – Hadley * “Le veau d’or” from “Faust” – Ramey * Prayer and final trio from “Mignon” – von Stade, Hadley & Ramey * “Vedrai, carino” from “Don Giovanni” – von Stade * “Dies Bildnis ist bezaubernd schön” from “Die Zauberflöte” – Hadley * “Non piu andrai” from “Le Nozze Di Figaro” – Ramey * “La ci darem la mano” from “Don Giovanni” – von Stade & Ramey * “Una furtiva lagrima” from “L’Elisir d’Amore” – Hadley * “Sorgete, sorgete” from “Maometto Secondo” – Ramey * “Nacqui all’affanno” from “La Cenerentola” – von Stade
25 Best Opera Arias00:00:00 Puccini: Gianni Schicchi – O mio babbino caro 00:02:36 Rossini: Il barbiere di Siviglia: Largo al factotum (Cavatina) 00:07:09 Mozart: Die Zauberflöte – Queen Of The Night 00:10:13 Puccini: La Bohème – Mi chiamano Mimì 00:14:58 Donizetti: L’Elisir d’Amore – Una furtiva lagrima 00:19:50 Verdi: Rigoletto – La donna é mobile 00:22:02 Puccini: Tosca – E lucevan le stelle 00:25:14 Mozart: Le nozze di Figaro – Non più andrai 00:29:06 Bellini: Norma – Casta diva 00:35:52 Verdi: Un ballo in maschera – Ma se m’e forza perderti 00:40:47 Puccini: Turandot – Nessun dorma 00:44:56 Leoncavallo: Pagliacci – Vesti la giubba 00:48:51 Verdi: La Traviata – Sempre libera 00:52:33 Saint-Saëns: Samson and Delilah – Mon coeur s’ouvre à ta voix 00:58:19 Puccini: Tosca – Vissi d’arte 01:01:37 Bizet: Les pêcheurs de perles – Au fond du temple saint 01:06:11 Mozart: Le nozze di Figaro – Cinque… dieci… Venti (No. 1 Duettino) 01:08:56 Verdi: Rigoletto – Ella mi fu rapita…Parmi veder le lagrime 01:13:51 Puccini: Manon Lescaut – Donna non vidi mai 01:16:30 Massenet: Werther – Pourquoi me réveiller 01:19:26 Offenbach: Tales of Hoffmann – Barcarolle 01:23:11 Verdi: Luisa Miller – Quando le sere al placido 01:28:45 Puccini: Gianni Schicchi – Firenze è come un albero fiorito 01:32:02 Verdi: Il Trovatore – Ah si’ ben mio coll’essere 01:35:05 Giordano: Andrea Chenier – La Mamma Morta
TRACKLIST: 00:00:00 – La Donna E Mobile (Rigoletto) 00:02:21 – Chorus Of The Hebrew Slaves (Nabucco) 00:06:20 – Overture (La Forza Del Destino) 00:09:27 – Un Di Felice (La Traviata) 00:12:55 – Merce, Dilette Amiche (I Vespri Siciliani) 00:16:27 – Brindisi (La Traviata) 00:19:24 – Di Quella Pira (Il Trovatore) 00:21:18 – Anvil Chorus (Il Trovatore) 00:23:58 – Stride La Vampa! (Il Trovatore) 00:26:26 – Ritorna Vincitor (Aida) 00:33:51 – Dio, Che Nell’alma Infondere (Don Carlo) 00:38:29 – Prelude (La Traviata) 00:42:20 – Caro Nome (Rigoletto) 00:48:15 – O Don Fatale (Don Carlo) 00:52:56 – Celeste Aida (Aida) 00:57:57 – Ernani, Involami (Ernani) 01:00:35 – Di Tu Se Fedele (Un Ballo In Maschera) 01:03:54 – Morro, Ma Prima In Grazia (Un Ballo In Maschera) 01:08:35 – Quando Le Sere Al Placido (Luisa Miller) 01:12:11 – Grand March (Aida) 01:17:08 – Dies Irae (Messa Da Requiem) 01:19:30 – Pace, Pace, Mio Dio! (La Forza Del Destino) 01:25:06 – Questa O Quella (Rigoletto) 01:27:01 – Bella Figlia Dell’amore (Rigoletto) 01:30:58 – Ave Maria (Otello) 01:35:47 – Parigi, O Cara (La Traviata) 01:40:07 – Ah, La Paterna Mano (Macbeth) 01:42:35 – Squilli, Echeggi La Tromba Gerriera (Il Trovatore) 01:45:22 – O Carlo, Ascolta (Don Carlo) 01:49:32 – Ingemisco (Messa Da Requiem) 01:53:04 – Come In Quest’ora Bruna (Simon Boccanegra) 01:56:39 – Brindisi (Macbeth) 02:00:05 – O Patria Mia (Aida) 02:05:29 – La Mia Letizia Infondere (I Lombardi) 02:07:51 – Lo Sguardo Avea Degli Angeli (I Masnadieri; soprano: Montserrat Caballé) 02:11:45 – Solenne In Quest’ora (La Forza Del Destino) 02:15:59 – Patria Oppressa (Macbeth) 02:20:52 – Tacea La Notte (Il Trovatore) 02:24:32 – Dal Piu Remoto Esilio…O Dio Solo, Ed Odio Atroce (I Due Foscari) 02:29:27 – Auto-Da-Fe Chorus (Don Carlo)
Vozes do Alentejo na Casa da Musica, Porto 2015 | Vozes Solistas – Celina da Piedade, Paulo Ribeiro e Bernardo Espinho Grupo Coral e Etnográfico da Casa do Povo de Serpa. Acompanhados por: Antonio Bexiga – Viola do Alentejo a Viola Campaniça. Carlos Menezes – Contrabaixo Filipa Ribeiro – Percussões portuguesas Armando Carvalhêda – Voz Off Luis Filipe Gaspar – Fotografias projectadas João Paulo Nogueira – Som frente Nuno Rebocho – Som de palco Miguel Ramos/Tela Negra – Luzes Alex Gaspar / Uguru – Produção apoios: RDP Antena1, Associação Mutuaria Montepio, Casa da Musica e Câmara Municipal de Serpa. Realização – Jorge Meneses / zoomvideo
18/11/2015 | Se todo artista tem de ir aonde o povo está, em Londres eles vão de táxi. Mais precisamente nos tradicionais black cabs, aqueles carros pretos antigos que são uma marca da cidade inglesa. E se entram num black cab desses e saem tocando e cantando não é porque estão loucos ou subitamente inspirados, mas, sim, porque estão gravando mais um episódio do “Black Cab Session”. Recentemente, quem pegou um táxi desses foram Caetano Veloso e Gilberto Gil, quando estiverem pela Europa com os shows da turnê “Dois Amigos – Um Século de Música”. Explicando melhor, “Black Cab Sessions” é um projeto audiovisual na web que começou em 2007. A cada sessão um black cab da carona para um artista e o leva para passear pelas ruas londrinas. Enquanto está no carro, o “passageiro” canta uma música que é devidamente gravada e postada. Até hoje, já foram mais de 200 viagens!! Mais uma forma inusitada de vermos grande nomes da música tocando e cantando seus sucessos. Um simpático estúdio sobre rodas. Com Caetano e Gil não foi diferente. O black cab os pegou no hotel e partiu para o rolé. Adivinhem qual música os baianos cantaram?! Nada mais adequado que… “London, London”. O Gshow pegou carona e traz aqui a “Black Cab Session” com Caetano Veloso e Gilberto Gil!! Para pegar este táxi não precisa fazer sinal, nem usar aplicativo. Basta clicar e seguir viagem.
Listen to some of the most beloved overtures and arias from famous operas and operettas by Mozart, Léhar, Strauss, Offenbach, Lecocq and Kálmán. This 2017 concert in Paris had the audience literally dancing in the aisles! Featuring the Orchestre de Paris under the baton of Thomas Hengelbrock and vocal performances by soprano Annette Dasch and tenor Cyrille Dubois.
00:00 Intro 00:16 Wolfgang Amadeus Mozart, Overture From the opera “Le nozze di Figaro” 05:24 Franz Léhar, Lippen schweigen From the operetta “Die lustige Witwe” Cyrille Dubois | Tenor Annette Dasch | Soprano 09:51 Johann Strauss, Overture From the operetta “Die Fledermaus” 18:29 Jacques Offenbach, Ballet des mouches: Galop From the operetta “Orpheus in the Underworld” 20:48 Jacques Offenbach, Cest le ciel qui menvoie… ce nest qu’un rêve From the operetta “La belle Hélène” Cyrille Dubois | Tenor Annette Dasch | Soprano 26:41 Jacques Offenbach, Galop infernal From the operetta “Orpheus in the Underworld” 29:10 Charles Lecocq, Ô Paris, gai séjour de plaisir From the operetta “Les cent vierges” Annette Dasch | Soprano 33:47 Johann Strauss, Csárdás From the opera “Ritter Pázmán” 39:03 Emmerich Kálmán, Heut’ Nacht hab’ ich geträumt von dir Form the operetta “Das Veilchen vom Monmartre” Cyrille Dubois | Tenor 41:54 Emmerich Kálmán, Lieber Schatz… Sag ja, mein Lieb, sag ja from the operetta “Gräfin Mariza” Cyrille Dubois | Tenor Annette Dasch | Soprano
Espero que tenham tido um excelente início de ano.
O meu está a ser bastante inspirador: preparo os concertos das próximas semanas, leio bastante, oiço música para conhecer repertório novo, assisto a vários concertos, tento fugir ao frio de Madrid… 🙂
Viajo dentro de dias para Portugal, onde terei a última apresentação da ópera “Beatriz”, de Luís Soldado, que estreou em Novembro, no Brasil. Aproveito também para gravar uma obra em estreia mundial com o tenor Luís Gomes, como parte do projecto “Lost Souls of War“, criado por Mickael Viegas.
Em Fevereiro estarei concentrada a preparar o Concerto para Piano de Tiago Derriça, que terei a honra de estrear no início de Março. Segue-se um recital a solo no Festival Internacional de Piano do Algarve e duas masterclasses. A agenda, em constante actualização, pode ser consultada aqui.
28 de Janeiro – Ópera de câmara “Beatriz”, de Luís Soldado, baseada em poesia de Charles Bukowski. Auditório Municipal Beatriz Costa (Mafra), 21h30. + info
5 de Março – Concerto com a Orquestra Metropolitana de Lisboa. Centro Cultural de Belém, 17h. Estreia do Concerto para Piano e Orquestra de Tiago Derriça. + info
Para terminar, uma pequena surpresa. Tenho um convite para oferecer para o dia 28, que será sorteado entre as pessoas que responderem a este email a demonstrar interesse em assistir ao espectáculo. Poderão escrever-me até dia 25, e entrarei em contacto com o vencedor no dia 26.
Até breve, Marta Menezes
Dear friends,
I hope your 2023 got off to the best start.
Mine has been very inspiring so far: I have been preparing the upcoming concerts, reading a lot, listening to new repertoire, going to several concerts, trying to cope with the cold weather in Madrid… 🙂
I am traveling to Portugal in the next days for the last performance of the chamber opera “Beatriz”, by Luís Soldado, that was premiered in Brazil last November. I will also record a work for voice and piano – a world premiere – with Luís Gomes for the project “Lost Souls of War“, created by Mickael Viegas.
In February I will be focusing on the preparation of the Piano Concerto by Tiago Derriça, which I will have the honor to premiere in March, in Lisbon. A recital at Festival Internacional de Piano do Algarve follows, as well as two masterclasses. The calendar is regularly being updated and can be accessed here.
January 28th – Chamber opera “Beatriz”, by Luís Soldado, based on poetry by Charles Bukowski. Auditório Municipal Beatriz Costa (Mafra), 9.30 pm. + info
March 5th – Concert with Orquestra Metropolitana de Lisboa. Centro Cultural de Belém, 5 pm. World premiere of the Piano Concerto by Tiago Derriça. + info
And finally, a little surprise. I am giving a free ticket for the opera on the 28th, that will be raffled among the people who reply to this email showing interest in attending the concert. You can write me until the 25th and I will contact the winner on the 26th.
What I really love about this performance is the fact Diana Vishneva is still looking so young, so good technically, but at the same time she brings to this role such kind of maturity incomparable to any other ballerinas… That’s why I am always so touched when we can admire ballerinas at her best as an artist, when you look at them and you don’t think about all difficult variations, attitudes, but you enjoy the real character.
For me here, she isn’t a ballerina playing the role of Giselle, she is Giselle! And I really love to see the growth of such a big talent she certainly has been since far 1994 year when performed and won Prix de Lausanne. I miss her so much in this role and I am more than conviced that even nowadays she could manage to perform it with same passion and technically so strong as we can see here.
Giselle remains one of the most popular Romantic ballets of all time. The story brings together an engaging mix of human passions, supernatural forces, and the transcendent power of self-sacrificing love. The production by Sir Peter Wright catches the atmosphere of this great Romantic ballet, especially in the perfection of its White Act, with ghostly maidens drifting through the forest in spectacular patterns — one of the most famous of any scenes for the corps de ballet. Giselle dances with lightness and fragility, giving the impression of floating through the mist. This is one of The Royal Ballet’s most loved and admired productions, faithful to the spirit of the 1841 original yet always fresh at each revival.
This performance features former Bolshoi star and now Royal Ballet principal Natalia Osipova in a breath-taking interpretation of the title role. Giselle: Natalia Osipova Albrecht: Carlos Acosta Orchestra of the Royal Opera House Choreography Marius Petipa after Jean Coralli and Jules Perrot Conductor Boris Gruzin Recorded live at the Royal Opera House, January 2014
00:00 UNA VOCE POCO FA • Gioacchino Rossini “Il Barbiere Di Siviglia” 06:48 VISSI D’ARTE • Giacomo Puccini “Tosca” 10:04 ADDIO DEL PASSATO • Giuseppe Verdi “La Traviata” 13:31 SICILIANA • Giuseppe Verdi “I Vespri Siciliani” 17:30 CASTA DIVA • Vincenzo Bellini “Norma” 24:45 SÌ, MI CHIAMANO MIMÌ • Giacomo Puccini “La Bohème” 29:32 UN BEL DÌ VEDREMO • Giacomo Puccini “Madama Butterfly” 34:02 AH, FORS’È LUI – SEMPRE LIBERA • Giuseppe Verdi “La Traviata” 42:21 PACE, PACE MIO DIO • Giuseppe Verdi “La Forza Del Destino” 48:46 QUAL FIAMMA AVEA NEL GUARDO • Ruggero Leoncavallo “I Pagliacci” 53:28 EBBEN NE ANDRÒ LONTANA • Alfredo Catalani “La Wally” 58:16 MIO BABBINO CARO • Giacomo Puccini “Gianni Schicchi” 1:00:48 MADRE MIA • Amilcare Ponchielli “La Gioconda” 1:02:41 QUANDO, RAPITO IN ESTASI • Gaetano Donizetti “Lucia Di Lammermoor” 1:07:41 TACEA LA NOTTE PLACIDA • Giuseppe Verdi “Il Trovatore” 1:13:50 SPARGI D’AMARO PIANTO • Gaetano Donizetti “Lucia di Lammermoor” 1:18:00 GIASON! DEI TUOI FIGLI LA MADRE • Luigi Cherubini “Medea” 1:25:27 SIGNORE, ASCOLTA • Giacomo Puccini “Turandot” 1:27:56 OMBRA LEGGERA • Giacomo Meyerbeer “Il Perdono Di Ploermel” 1:33:35 SUICIDIO! • Amilcare Ponchielli “La Gioconda” 1:38:11 CARO NOME • Giuseppe Verdi “Rigoletto” 1:44:56 HO VISTO IL FIGLIO SUL MATERNO SEN • Richard Wagner “Parsifal” 1:52:44 UNA MACCHIA È QUI TUTTORA • Giuseppe Verdi “Macbeth”
O nome das notas (dó, ré, mi, fá, sol, lá, si) tem a sua origem na música coral medieval. Foi Guido d’Arezzo (992-1050), um monge italiano, que criou este sistema de nomear as notas musicais – o chamado sistema de solmização. Seis das sílabas foram tiradas das primeiras seis frases do texto de um hino a São João Batista, em que cada frase era cantada um grau acima na escala. As frases iniciais do texto, escrito por Paolo Diacono, eram:
dasculturas.com 