Nov 28, 2024
Top 3 arias in Puccini's Tosca (according to me):
n.2 "E lucevan le stelle"
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Top 3 arias in Puccini's Tosca (according to me):
n.2 "E lucevan le stelle"
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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I watch this song in every single live performance and I'm utterly AMAZED of how Ronnie Radke 's vocals are perfecting to an unbelievable quality operatic style, please DO AN ARIA COVER Ronnie, I refuse to die until I heard you sing a real classical, w or w/o a partner 🙏🥹❤️❤️🔥
Adieu, Virginia Zeani! And thank you!
Zeani as Cleopatra, Teatro alla Scala, 1956.
“"Per Te" by Josh Groban from Closer, out now. Directed by Meiert Avis.“ From Youtube channel Josh Groban: Josh Groban - Per Te [Official Music Video] Great video and nice voice...
When people say opera is a dying art, but it's been around since the 16th century and people don't know most popular songs from less than a hundred years ago
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Richard Schubert as “Tannhäuser” R. Wagner.
Richard Schubert, the celebrated tenor and interpreter of Richard Wagner's romantic heroes, embodied a new ideal of the Heldentenor. Schubert in turn, bad a clearly focused, shining voice that enabled him to penetrate the mighty forces of a Wagner Orchestra. Especially lauded, however, was bis youthfully ideal stage appearance with which he managed to do full justice to the magic of his roles. Thus it is no surprise that it was Richard Strauss who actually discovered him. In one of the Nuremberg "Rosenkavalier" productions conducted by him the musician accompanying the tenor in the aria of the "singer" attracted his attention because of his extraordinary histrionic ability. Strauss was later told that said flautist was a student who was studying singing in order later to become a baritone. He decided to keep an eye on him. Nevertheles he could hardly have known that this young man was subsequently to become one of the most celebrated Heldentenors of the Vienna State Opera. Initially Schubert sang minor baritone roles in Strassburg; bis well-developed top range soon showed which way bis career was to turn. Eventually he managed the transition to the tenor repertoire and he subsequently sang in Nuremberg, Wiesbaden and Hamburg, learning the most important Heldentenor roles as well as many lyric roles. Even when he was celebrated as a Heldentenor he. still continued to sing lyric roles where he could relax and "oil" his voice. While in Hamburg he owed a lot to Egon Pollack, then the intendant of the opera. There, on December 4, 1920, he also sang the tenor lead in the world premiere of Komgold's "Die tote Stadt", a role in which he was subsequently acclaimed in Vienna. In April 1920 Schubert was engaged to sing five performances in Vienna. His Radames initially did not quite fulfill expectations as the Viennese were accustomed to the huge voice of Leo Slezak. Yet he managed to convince as Walter, Tannhäuser and Pedro in "Tiefland". A further guest appearance in the tetralogy of the Ring finally convinced all and sundry that here was a grandiose successor to Erik Schmedes, whose style, however, recalled rather the latter's predecessor Hermann Winkelmann. Unfortunately, Schubert could only be signed up for brief periods of time in each case which were used for cyclical performances of Wagner operas. Hence his excursions into the lyric repertoire were few and far between. Also in Richard Strauss' operas he was acclaimed.
Wilhelm Grüning (1858-1942) German tenor.
He made his debut (1881) in Danzig. He spent most of his career at the Hannover Opera and the Berlin Imperial Opera.
He was the son of a Berlin jeweller. He studied singing in Berlin under Julius Stern and Jenny Meyer and made his debut in 1881 at the Stadttheater in Gdansk as a lyric tenor, however, his voice changed about 1885 to the heroic tenor. From Gdansk he joined in the 1883-1885 seasons to the Opernhaus in Dusseldorf, then sang in the 1885-1887 seasons at the Deutschen Theater in Rotterdam. From 1888 to 1895 he appeared at the Hoftheater in Hannover, in the 1895-1898 seasons at the Stadttheater in Hamburg. In 1898 he joined to to the Hofoper in Berlin, where he remained till 1911. From 1891 to 1897 he appeared at the Bayreuth festival as Parsifal, Tannhäuser, Siegfried and Walther von Stolzing in ‘’Die Meistersinger von Nürnberg’’. His creation of the title role in R. Wagner’s ‘’Rienzi’’ counted at his time as an incomparable achievement. In 1899 he appeared at the Berlin Hofoper in the premiere of the (posthumous) operas ‘’Briseïs’’ of E. Chabrier, ‘’Cain’’ (1900) by E. d’Albert, ‘’Samson et Dalila’’ (1901) of C. Saint-Saëns, ‘’Der Pfeifertag’’ (1902) by M. von Schillings (after premiere in 1899 at the Hoftheater in Schwerin). He appeared as Faust in C. Gounod’s ‘’Faust’’ in a performance in which Geraldine Farrar made her debut at Berlin as Marguerite (15. 10. 1901). On 13. 12. 1904 he performed at the Berlin Hofoper in the unsuccessful premiere of the opera ‘’Der Roland von Berlin’’ by R. Leoncavallo. On 21. 3. 1899 he sang there also in the premiere of A. Lortzing’s opera ‘’Regina’’ (48 years after the death of the composer!). He made guest appearances in London and Amsterdam and in the 1895-1896 season sang with the Damrosch Opera Company in the USA. Probably he retired from the stage in 1911 and was active in Berlin as vocal pedagogue. Married to the known dramatic soprano Antonie Mielke (1856-1907).
At the latter he sang in the unsuccessful world premiere of Der Roland von Berlin.
Rare footage of the legendary soprano, Claudia Muzio from 1935. The following year she died at the age of 47.
Claudia Muzio was considered one of the greatest sopranos of the 20th century, and she had a profound influence on Maria Callas. Muzio created the role of Giorgetta in the world premiere of Puccini’s Il tabarro at the Metropolitan Opera.