Puccini's 'Turandot' performed by the Metropolitan Opera. Artists include: Eve Marton and Placido Domingo. Conducted by James Levine. Directed by Franco Zeffirelli. Sung in Italian
Opera in three acts produced live at the Metropolitan Opera on 7 November 1977.
Puccini - La Boheme (Levine Metropolitan Opera Orchestra)
Giacomo Puccini's La Boheme and Il tabarro, Ruggiero Leoncavallo's Pagliacci and Gaetano Donizetti's L'elisir d'amore, performed by The Metropolitan Opera Orchestra and Chorus, conducted by James Levine.
Puccini: Manon Lescaut (Levine Scotto Domingo)
Lucia di Lammermoor - Tragic Drama in Three Acts.With an exhilarating performance of her signature role Dame Joan Sutherland captivates the audience in this elaborate production of Donizetti's bel canto masterpiece taped during its celebrated 1982 run at the Metropolitan Opera.
Verdi: Luisa Miller (Levine Metropolitan Opera Chorus)
Holst:The Planets/Debussy:La Mer
Tracklist 1. Opening Credits (Hansel And Gretel) 2. Prelude 3. Suzy, Little Suzy, Now Listen With Care 4. All Right! And Now If You'll Stop Complaining 5. Hansel, Come And Dance With Me 6. Hansel! - Dread! It's Mother! 7. Oh, Why Do They Always Make Me Angry? 8. Tra La La La! Mother, Now At Last I'm Here 9. But Wait! I Don't See The Children10. There's A Witch Who Lives In The Wood Alone11. The Witch's Ride12. Now Once Upon A Time In The Wood Alone13. Gretel, I Think We're Really Lost14. When Night Comes Softly Creeping15. Now I Lay Me Down To Sleep16. Pantomime17. Prelude18. I'm Wide Awake Each Morning19. Where Am I? Dreaming?20. Stay There! Don't Move!21. Nibble Nibble Mousey22. Scat! You Gobbling Mousey23. Brrr! Hocus Pocus, Witches Curse!24. Now Gretel, You Must Stay Here Like That25. My Old Broomstick, You Must Be Quick26. Come, Wake Up, My Little Dunce27. Hurray! We're Free, We Broke The Charm28. We Are Safe! We Are Free!29. Tra La La La! I Can't Believe They'd Come This Far!30. Closing Credits (Hansel And Gretel)31. Hansel And Gretel At The MET / Picture Gallery
'With a daring and depth few of his American contemporaries seem set to match, Kevin Kline has both starred in and directed Hamlet for the N.Y. Shakespeare Festival. Now with the felicitous addition of Kirk Browning as co-director, he has brought his indelible Hamlet to television, where, as The New York Times, stated, 'it is eloquent, moving and at times thrilling. The shrewdly edited version uses tight close-ups and captures small crowd scenes without a sense of confinement. The teleplay ...
Puccini: Tosca (Sinopoli Metropolitan Opera Orchestra)
A gala performance from the Metropolitan Opera, New York with the great operatic pairing of Joan Sutherland and Luciano Pavarotti in fully staged scenes from their classic stage roles. The evening includes the final acts of Verdi's La Traviata and Rigoletto, as well as scenes from Donizetti's bel canto masterpiece Lucia di Lammermoor.
Leonard Warren - Pagliacci (Leoncavallo) PrologueJan Peerce - Pagliacci (Leoncavallo) Vesti la giubbaIsaac Stern - Mendelssohn - Violin Concerto 3rd MovementZinka Milanov - Tosca (Puccini) Vissi d'arteRoberta Peters - Les Contes D'Hoffman (Offenbach) Doll SongGregor Piatigorsky - Von Weber: Adagio & RondoMarian Anderson (With Franz Rupp piano)Blanche Thebom 7 Mildred Miller - Les Contes d'Hoffmann (Offenbach) BarcarolleRise Stevens - Carmen (Bizet) Card SongRenata Tebaldi & Jussi Bjoerling - La Boheme (Puccini) Act 1 FinaleArthur Rubinstein - Chopin: Polonaise in A-flat Op. 53Showcase Symphony Orchestra conducted by Max Rudolf
San Francisco's prize-winning American Conservatory Theatre's rowdy commedia dell'arte production incorporates slapstick, pratfall and earthy humour into William Shakespeare's comedy about the two unmarried daughters of a wealthy Italian merchant. While daughter Bianca is genteel and popular, daughter Kate is foul-tempered and strong-willed. No one dares to marry Kate, until Petruchio arrives in Padua and tries his hand at courtship.
In the summer of 1974 The Greater Washington Educational Telecommunications Association began videotaping a number of live operatic and concert performances at the Filene Center in Wolf Trap Farm Park for the Performing Arts in Vienna Virginia for telecast in an innovative new series entitled 'In Performance at Wolf Trap'. The series met with overwhelming success and set the stage for the many live performance telecasts which have since followed.In 1975 'In Performance at Wold Trap' presented Beverly Sills in perhaps her most acclaimed portrayal that of Queen Elizabeth I in the Donizetti rarity Roberto Devereux. When Miss Sills first sang the role at the New York City Opera in 1970 Winthrop Sargeant wrote in the New Yorker She was Elizabeth from the extreme pallor of her makeup to the royal sweep of her train. It was a characterisation that I shall never forget. The combination of skills she brought to her role made this a historic moment. Daniel Webster wrote in the Philadelphia Inquirer Miss Sills sang the towering role with such authority and portrayed Queen Elizabeth with such fervour that the opera unstaged (in New York) for more than 125 years now is one of the theatrical events of the year.
The Daughter Of The Regiment - Opera in Two Acts by Gaetano Donizetti.Recorded at the Wolf Trap Festival 1974.
The important balance to be struck in any production of Eugene Oneginis between, on the one hand, the long lyrical monologues--Tatiana's letter scene, Lensky's aria, Gremin's praise of his wife--and the crucial confrontations between Tatiana and Onegin with the more public scenes in which these private emotions evolve into tragedy and disillusion. Rozhdestvensky finds this balance effortlessly--the chorus that dances its way through the small-town ball that ends in Lensky's challenge is as much a character in the tragedy as the principals. The principals are excellent, too. Orla Boylan is as good as the mature Tatiana as she is as the callow girl who first falls for Onegin, while Vladimir Gluschak's Onegin is as convincing as the object of her devotion as he is as the self-pitying egoist who wrecks his own life and those of Olga and Lensky. The orchestral sound is convincing but unexciting. --Roz KaveneyOn the DVD: The DVD has subtitles in German, English and French, and the menu is also in Spanish. --Roz Kaveney
Complete live telecast of December 10 1956.Program.Victoria De Los Angeles & Barry Morell-La Traviata: Act I (abridged) (with Elizabeth Doubleday Virginio Assandri Arthur Newman)Marian Anderson (with Franz Rupp piano)arr. H.T. Burleigh: Heav'n Heav'narr. H.T. Burleigh: My Lord What a Mornin'arr. Hall Johnson: Roll Jord'n RollArthur RubeinsteinRachmaninov: Rhapsody on a Theme of Paganini (abridged)Andres Segovia/ Bach: Gavotte Torroba: AllegrettoBoris Christoff/ Boris Godunov (Mussorgsky) Death of Boris (with Nicola Moscona Michael Pollack Kirk Jordon)Showcase Symphony Orchestra & Chorus conducted by Alfred WallensteinHosted by Jose Ferrer.
Before live opera telecasts became regular television events The Grater Washington Educational Telecommunications Association ( WETA ) embarked on an ambitious project. In the summer of 1974 WETA began videotaping live operatic and concert performances at the Filene Center Auditorium in Wolf Trap Park for the Performing Arts in Vienna Virginia for broadcast in a series entitled In Performance at Wolf Trap. The overwhelming success of the series proved to public television stations throughout the country that audiences were eager for this kind of programming.In 1976 In Performance at Wolf Trap presented Beverly Sills in one of her most celebrated portrayals that of Violetta in Verdi's La Traviata. Just months earlier Sills had performed the role at the Metropolitan Opera to great acclaim.
Please wait. Loading...
This site uses cookies.
More details in our privacy policy