EBOND The 3 Tenors In Concert 1994 - Carreras - Domingo - teldec CD CD095934.
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From Dodger đïž Stadium Los Angeles
Nouvelle Album đż 1994
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Es ist nicht Oper, es ist auch kein Popkonzert -- und Broadway-Musical ist es auch nicht. Es ist all dies -- und nichts davon. Wenn Sie damit leben können, daĂ diese Fortsetzung des Riesenerfolgskonzerts weniger mit Musik zu tun hat, dafĂŒr aber mehr mit Entertainment und groĂen musikalischen Persönlichkeiten, dann können sie das Gehörte immerhin als Ereignis ansehen. Als PhĂ€nomen, bizarr und von groĂer Tragweite -- und einigermaĂen frivol. Eine einmalige Gelegenheit, die Stimmen und Egos dreier Superstars kennenzulernen und mit Freude zuzuhören, wie Luciano Pavarotti, Placido Domingo und Jose Carreras with Metha zusammenwirken und sich vor einem enthusiastischen Publikum die BĂ€lle nur so zuspielen lassen. Es macht jedoch mehr SpaĂ, wenn man das alles auch noch auf der BĂŒhne sehen kann. AuĂerdem werden ohne die Bilder die gesanglichen MĂ€ngel nur noch deutlicher. Domingo bringt die solideste Leistung; seine Stimme ist in weit besserer Form, als die der anderen beiden. Wenn Sie aber GroĂes, Höchstes und Lautestes hören wollen -- und die Oper nicht allzu ernst nehmen -- werden Sie diese CD lieben. --David Vernier
Kurzbeschreibung
LegendÀres Konzert mit den besten Tenören aller Zeiten
Als berĂŒhmtestes Vokaltrio der Welt schrieben sie Geschichte: die Drei Tenöre JosĂ© Carreras, PlĂĄcido Domingo und Luciano Pavarotti. Ihr berĂŒhmtestes Album entstand 1994 in Los Angeles zur FuĂball-WM. Es erntete gigantische Chart-Erfolge und gilt als mitreiĂendstes Dokument der Drei, die mit ihren Stimmen die Stadien zu fĂŒllen vermochten.
GENRE: GESANG
Track Listings
1 O souverian, o juge, o pĂšre
2 Amor, vida de mi vida
3 Pourquoi me réveiller
4 With a song in my heart
5 Granada (Live)
6 Non ti scordar di me (Live)
7 My way
8 Moon river
9 Because
10 Singin' in the rain
11 Tu, ca nu chiange (Live)
12 Vesti la giubba
13 Nessun dorma!
14 America
15 All I ask of you
16 FuniculĂŹ, FuniculĂ
17 Sous les ponts de Paris
18 Brazil
19 Be my love
20 Marechiare
21 Lippen schweigen
22 Santa Lucia Luntana
23 Those were the days
24 Te quiero dijiste
25 Torna a Surriento
26 La donna Ăš mobile
27 Libiamo ne' lieti calici
Product information
Original Release Date â1994
Label âEastwest (Warner)
Conducting is the art of directing a musical performance, such as an orchestral or choral concert. It has been defined as "the art of directing the simultaneous performance of several players or singers by the use of gesture."[1] The primary duties of the conductor are to interpret the score in a way that reflects the specific indications in that score, set the tempo, ensure correct entries by ensemble members, and "shape" the phrasing where appropriate.[2] Conductors communicate with their musicians primarily through hand gestures, usually with the aid of a baton, and may use other gestures or signals such as facial expression and eye contact.[3] A conductor usually supplements their direction with verbal instructions to their musicians in rehearsal.[3]
Herbert von Karajan conducting in 1941
The conductor typically stands on a raised podium with a large music stand for the full score, which contains the musical notation for all the instruments or voices. Since the mid-19th century, most conductors have not played an instrument when conducting, although in earlier periods of classical music history, leading an ensemble while playing an instrument was common. In Baroque music, the group would typically be led by the harpsichordist or first violinist (concertmaster), an approach that in modern times has been revived by several music directors for music from this period. Conducting while playing a piano or synthesizer may also be done with musical theatre pit orchestras. Communication is typically mostly non-verbal during a performance. However, in rehearsals, frequent interruptions allow the conductor to give verbal directions as to how the music should be played or sung.
Conductors act as guides to the orchestras or choirs they conduct. They choose the works to be performed and study their scores, to which they may make certain adjustments (such as in tempo, articulation, phrasing, repetitions of sections), work out their interpretation, and relay their vision to the performers. They may also attend to organizational matters, such as scheduling rehearsals,[4] planning a concert season, hearing auditions and selecting members, and promoting their ensemble in the media. Orchestras, choirs, concert bands, and other sizable musical ensembles such as big bands are usually led by conductors.
Nomenclature
History
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Middle Ages to 18th century
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An early form of conducting is cheironomy, the use of hand gestures to indicate melodic shape. This has been practiced at least as far back as the Middle Ages. In the Christian church, the person giving these symbols held a staff to signify his role, and it seems that as music became rhythmically more complex, the staff was moved up and down to indicate the beat, acting as an early form of baton.[citation needed] In the 17th century, other devices to indicate the passing of time came into use. Rolled sheets of paper, smaller sticks and unadorned hands are all shown in pictures from this period. The large staff was responsible for the death of Jean-Baptiste Lully, who injured his foot with one while conducting a Te Deum for King Louis XIV's recovery from illness. The wound became gangrenous, and Lully refused amputation, whereupon the gangrene spread to his leg, and he died two months later.[6]
In instrumental music throughout the 18th century, a member of the ensemble usually acted as the conductor. This was sometimes the concertmaster, who could use his bow as a baton, or a lutenist who would move the neck of his instrument in time with the beat. It was common to conduct from the harpsichord in pieces that had a basso continuo part. In opera performances, there were sometimes two conductors, with the keyboard player in charge of the singers and the principal violinist or leader was in charge of the orchestra.[citation needed]
On 30 September 1791 in Vienna, Mozart's opera Die Zauberflöte (The Magic Flute) premiered at the Theater auf der Wieden, with Mozart conducting the orchestra, according to documents and publicity posters from that time.[7] In 1798, Joseph Haydn conducted the premiere of Creation with his hands and a baton while "Kapellmeister Weigl [sat] at the fortepiano."[8]
19th century
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Giuseppe Verdi conducting his opera Aida in 1881
By the early 19th century (c.â1820), it became the norm to have a dedicated conductor who did not also play an instrument during the performance. While some orchestras protested the introduction of the conductor, since they were used to having a concertmaster or keyboard player act as leader, eventually the role of a conductor was established. The size of the usual orchestra expanded during this period, and the use of a baton became more common as it was easier to see than bare hands or rolled-up paper. Among the earliest notable conductors were Louis Spohr, Carl Maria von Weber, Louis-Antoine Jullien and Felix Mendelssohn, all of whom were also composers. Mendelssohn is claimed to have been the first conductor to utilize a wooden baton to keep time, a practice still generally in use today. Prominent conductors who did not or do not use a baton include Pierre Boulez, Kurt Masur, James Conlon, Yuri Temirkanov,[9] Leopold Stokowski, Vasily Safonov, Eugene Ormandy (for a period), and Dimitri Mitropoulos.[10]
The composers Hector Berlioz and Richard Wagner attained greatness as conductors, and they wrote two of the earliest essays dedicated to the subject. Berlioz is considered the first virtuoso conductor. Wagner was largely responsible for shaping the conductor's role as one who imposes his own view of a piece onto the performance rather than one who is just responsible for ensuring entries are made at the right time and that there is a unified beat. Predecessors who focused on conducting include François Habeneck, who founded the Orchestre de la SociĂ©tĂ© des concerts du Conservatoire in 1828, though Berlioz was later alarmed at Habeneck's loose standards of rehearsal. Pianist and composer Franz Liszt was also a conductor. Wagner's one-time champion Hans von BĂŒlow (1830â1894) was particularly celebrated as a conductor, although he also maintained his initial career as a pianist, an instrument on which he was regarded as among the greatest performers.
BĂŒlow raised the technical standards of conducting to an unprecedented level through such innovations as separate, detailed rehearsals of different sections of the orchestra ("sectional rehearsal"). In his posts as head of (sequentially) the Bavarian State Opera, Meiningen Court Orchestra, and Berlin Philharmonic he brought a level of nuance and subtlety to orchestral performance previously heard only in solo instrumental playing, and in doing so made a profound impression on young artists like Richard Strauss, who at age 20 served as his assistant, and Felix Weingartner, who came to disapprove of his interpretations but was deeply impressed by his orchestral standards. Composer Gustav Mahler was also a noted conductor.
20th century
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Technical standards were brought to new levels by the next generation of conductors, including Arthur Nikisch (1855â1922) who succeeded BĂŒlow as music director of the Berlin Philharmonic in 1895. Nikisch premiered important works by Anton Bruckner and Pyotr Ilyich Tchaikovsky, who greatly admired his work; Johannes Brahms, after hearing him conduct his Fourth Symphony, said it was "quite exemplary, it's impossible to hear it any better." Nikisch took the London Symphony Orchestra on tour through the United States in April 1912, the first American tour by a European orchestra. He made one of the earliest recordings of a complete symphony: the Beethoven Fifth with the Berlin Philharmonic in November 1913. Nikisch was the first conductor to have his art captured on filmâalas, silently. The film confirms reports that he made particularly mesmerizing use of eye contact and expression to communicate with an orchestra; such later conductors as Fritz Reiner stated that this aspect of his technique had a strong influence on their own.
Conductors of the generations after Nikisch often left extensive recorded evidence of their arts. Two particularly influential and widely recorded figures are often treated, somewhat inaccurately, as interpretive antipodes. They were the Italian conductor Arturo Toscanini (1867â1957) and the German conductor Wilhelm FurtwĂ€ngler (1886â1954). Toscanini played in orchestras under Giuseppe Verdi and made his debut conducting Aida in 1886, filling in at the last minute for an indisposed conductor. He is to this day regarded by such authorities as James Levine as the greatest of all Verdi conductors. But Toscanini's repertory was wide, and it was in his interpretations of the German symphonists Beethoven and Brahms that he was particularly renowned and influential, favoring stricter and faster tempi than a conductor like BĂŒlow or Wagner. Still, his style shows more inflection than his reputation may suggest, and he was particularly gifted at revealing detail and getting orchestras to play in a singing manner. FurtwĂ€ngler, whom many regard as the greatest interpreter of Wagner (although Toscanini was also admired in this composer) and Bruckner, conducted Beethoven and Brahms with a good deal of inflection of tempoâbut generally in a manner that revealed the structure and direction of the music particularly clearly. He was an accomplished composer as well as performer; and he was a disciple of the theorist Heinrich Schenker, who emphasized concern for underlying long-range harmonic tensions and resolutions in a piece, a strength of FurtwĂ€ngler's conducting. Along with his interest in the large-scale, FurtwĂ€ngler also shaped the details of the piece in a particularly compelling and expressive manner.
Leonard Bernstein conducting the Royal Concertgebouw Orchestra in 1985
The two men had very different techniques: Toscanini's was Italianate, with a long, large baton and clear beats (often not using his left hand); FurtwĂ€ngler beat time with less apparent precision, because he wanted a more rounded sound (although it is a myth that his technique was vague; many musicians have attested that he was easy to follow in his own way). In any event, their examples illustrate a larger point about conducting technique in the first half of the 20th century: it was not standardized. Great and influential conductors of the middle 20th century like Leopold Stokowski (1882â1977), Otto Klemperer (1885â1973), Herbert von Karajan (1908â1989) and Leonard Bernstein (1918â1990)âthe first American conductor to attain greatness and international fameâhad widely varied techniques.
Karajan and Bernstein formed another apparent antipode in the 1960sâ80s, Karajan as music director of the Berlin Philharmonic (1955â89) and Bernstein as music director of the New York Philharmonic (1957â69) and later frequent guest conductor in Europe. Karajan's technique was highly controlled, and eventually he conducted with his eyes often closed; Bernstein's technique was demonstrative, with highly expressive facial gestures and hand and body movements. Karajan could conduct for hours without moving his feet, while Bernstein was known at times to leap into the air at a great climax. As the music director of the Berlin Philharmonic, Karajan cultivated warm, blended beauty of tone, which has sometimes been criticized as too uniformly applied; by contrast, in Bernstein's only appearance with the Berlin Philharmonic in 1979âperforming Mahler's Symphony No. 9âhe tried to get the orchestra to produce an "ugly" tone in a certain passage in which he believed it suited the expressive meaning of the music (the first horn player refused and finally agreed to let an understudy play instead of himself).
Both Karajan and Bernstein made extensive use of advances in media to convey their art, but in tellingly different ways. Bernstein hosted major prime-time national television series to educate and reach out to children and the public at large about classical music; Karajan made a series of films late in his life, but in them he did not talk. Both made numerous recordings, but their attitudes toward recording differed: Karajan frequently made new studio recordings to take advantage of advances in recording technique, which fascinated himâhe played a role in setting the specifications of the compact discâbut Bernstein, in his post-New York days, came to insist on (for the most part) live concert recordings, believing that music-making did not come to life in a studio without an audience.
In the last third of the 20th century, conducting techniqueâparticularly with the right hand and the batonâbecame increasingly standardized. Conductors like Willem Mengelberg in Amsterdam until the end of World War II had had extensive rehearsal time to mold orchestras very precisely and thus could have idiosyncratic techniques; modern conductors, who spend less time with any given orchestra, must get results with much less rehearsal time. A more standardized technique allows communication to be much more rapid. Nonetheless, conductors' techniques still show a great deal of variety, particularly with the use of the left hand, facial and eye expression, and body language.
21st century
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Conductor's score and batons on a lit, extra-large conductor's music stand
Women conductors were almost unheard of in the ranks of leading orchestral conductors through most of the 19th and 20th centuries, but today, artists like Hortense von Gelmini [de],[11] Marin Alsop and Simone Young lead orchestras. Alsop was appointed music director of the Baltimore Symphony Orchestra in 2007âthe first woman appointed to head a major U.S. orchestraâand also of the Orquestra SinfĂŽnica do Estado de SĂŁo Paulo in 2012, and Alsop was the first woman to conduct on the last night of The Proms. Young scored similar firsts when she became head of the Hamburg State Opera and Philharmoniker Hamburg in 2005; she is also the first woman conductor to record the Ring Cycle of Richard Wagner. The Guardian called conducting "one of the last glass ceilings in the music industry".[12] A 2013 article states that in France, out of 574 concerts only 17 were conducted by women and no women conducted at the National OpĂ©ra in Paris.[13] "Bachtrack reported that in a list of the world's 150 top conductors that year, only five were women."[14] While Mexico has produced several major international conductors, Alondra de la Parra has become the first Mexican-born woman to attain distinction in the profession.
Similarly, conductors of East Asian descent have become more prominent within the contemporary orchestral landscapeânotably Seiji Ozawa who was thematic director of the Boston Symphony Orchestra from 1973 until 2002 after holding similar posts in San Francisco and Toronto. Myung-Whun Chung, who has held major posts in Germany and France, is bringing the Seoul Philharmonic Orchestra to international attention. Notable black conductors include Henry Lewis, Dean Dixon, James DePreist, Paul Freeman, and Michael Morgan. According to Charlotte Higgins' 2004 article in The Guardian, "black conductors are rare in the classical music world and even in symphony orchestras it is unusual to see more than one or two black musicians".[15]