#accademia nazionale di santa cecilia

[supatainmentbuzz]

🌟💍👸🕺💃🎥 The Mascagni Festival 2024 presented The Festival dedicated to the Livorno composer premiered at the Accademia Nazionale di Santa Cecilia in Rome, with some events that will enliven the summer festival in Livorno...... 🎶🏆💔📸🎉

[delectablywaywardbeard-blog]

Da Pappano un superpo Requiem di Verdi per ricordare Abbado

Una esecuzione superba della Messa da Requiem di Verdi per ricordare Claudio Abbado. Antonio Pappano è tornato a Santa Cecilia per tre concerti, l’ ultimo in programma questa sera, dedicati al grande direttore d’ orchestra a dieci anni dalla morte. Appuntamenti tutti sold out all’ Auditorium Parco della Musica Ennio Morricone, segno dell’ affetto del pubblico dell’ Accademia Nazionale che ha…

[classicalmusicdaily]

Anna Goryachova was born in Leningrad (Saint-Petersburg). In 2008 she graduated with distinction from the Vocals Faculty of the Rimsky-Korsakov St Petersburg State Conservatory (class of Tamara Novichenko and subsequently class of Galina Kiseleva). From 2009 to 2011 she trained under Renata Scotto and Anna Vandi at the Accademia Nazionale di Santa Cecilia (Rome) and also under Romualdo Savastano at the A.R.T. Musica academy (Rome). From 2008 to 2011 Anna was a soloist at the Mikhailovsky Theatre and the St Petersburg Chamber Opera. In 2010 she was nominated for Russia’s Golden Mask National Theatre Award for her performance of the role of Donna Elvira in the opera Don Giovanni staged by Yuri Alexandrov. In 2011 under the direction of Alberto Zedda she made her debut at the Vlaamse Opera (Flemish Opera) in Antwerp as the Marchesa Melibea (Il viaggio a Reims, Mariame Clément’s production). From 2012 to 2017 Anna was a soloist at the Opernhaus Zürich, where she performed the roles of Adalgisa (Bob Wilson’s production of Norma), Rosina (Rossini’s Il barbiere di Siviglia), Polina (The Queen of Spades), Magdalena (Die Meistersinger von Nürnberg), Zerlina (Don Giovanni), Eustazio (Handel’s Rinaldo), Zelim (Vivaldi’s La verità in cimento), Masha (Eötvös’ Three Sisters), Marchesa Melibea and so many others. She has collaborated with such conductors as Teodor Currentzis, Nello Santi, Fabio Luisi, Alain Altinoglu, Enrique Mazzola, Riccardo Frizza, Ottavio Dantone, Stefano Montanari and Daniele Rustioni among others. Took part in the world premiere of Christian Jost’s opera Rote Laterne (2015). In 2012 Anna sang the role of Alcina (Orlando paladino) at the Théâtre du Châtelet in Paris and made her debut at the Rossini Festival in Pesaro (Italy) as Edoardo (Matilde di Shabran) staged by Mario Martone and conducted by Michele Mariotti. In 2020 at the Grand Théâtre de Genève she sang the roles of Angelina (La Cenerentola) and Sesto (La clemenza di Tito, staged by Milo Rau) in addition to making her debut at the Vienna State Opera in the role of Olga (Dmitri Tcherniakov’s production of Eugene Onegin); in Vienna she subsequently performed the roles of Angelina and Carmen. In 2022 as Angelina she made her debut at the Mariinsky Theatre (St.Petersburg). In the 2020–21 season Anna received Valencia’s “Best Mezzo-Soprano of the Season” award for the role of Angelina in La Cenerentola, staged by Laurent Pelly at the Palau de les Arts Reina Sofía. We all know that this has been a pretty tough time for the socio-political environment, which affected also the arts in a considerable way, and it was so beautiful to see you and your Ukrainian colleague hugging each other during the standing ovation. What do you think about this matter, about the way theaters, but also the society, took actions towards the Russian artists? Honestly, during these 3 months I have never found any change of attitude from my colleagues, nor from the theaters. The political conflict should not affect the cultural environment. Indeed, you all seemed such an united team on stage and behind it! Was it your first Carmen in the amazing production of Calixto Bieito, which such a passionate stage parter as Vittorio Grigòlo, for his debut at Don José? There was such an amazing energy coming from the stage towards us, in the audience! Thank you so much, I already sung in this production in Madrid in 2017. It’s a very intense staging. And I was very much touched to see the standing ovations in Wiener Staatsoper every evening. I never met Vittorio before and we really enjoyed playing and singing together. It was a perfect artistic match, I think! I adore Vittorio! He is not only an incredibly talented artist, but he is also a very nice person offstage. And his role debut was sensational! reposted from https://opera-charm.com/

[lesbiancosimaniehaus]

Back in 2017, I was able to get a Carnegie Hall ticket to hear the great Argentinian pianist Martha Argerich performing with the Accademia Nazionale di Santa Cecilia even though the performance was sold out. I called the box office every other day, but I eventually was able to get a ticket that had been returned. If you want to hear Lea without paying resale ticket prices, you might want to call the Carnegie Hall box office every couple days to see if a ticket has come back.

I’m amazed you were able to get a ticket without resorting to witchcraft! This is the second time in try buying tickets from them (the first was Brandi Carlile singing Joni Mitchel’s Blue album… I’m still sad about it!) I’ll definitely call around! And I’ll pop in to the box office this week.

Anyways, I hope you enjoyed that performance!

[noisynutcrusade]

Daniel Harding named new music director at Santa Cecilia in Rome

Harding to succeed Sir Antonio Pappano in Rome. British conductor Daniel Harding has been named the next music director of Rome’s prestigious Accademia Nazionale di Santa Cecilia, one of the world’s oldest music institutions. Harding, 47, will take over from Sir Antonio Pappano who has served in the role since 2005 and will become chief conductor of the London Symphony Orchestra next…

[infinitelytheheartexpands]

I have a personal vendetta against Turandot but also:

holy fucking shit that cast

[musicmakesyousmart]

Orchestra and Chorus of the Accademia Nazionale di Santa Cecilia, Rome - Tosca

Decca

1967

[cupandbridle]

Of Domenico Rainer hardly anything is known beyond his name, which appears many times within a voluminous manuscript, held at the library of the Accademia Nazionale di Santa Cecilia in Rome. The manuscript contains guitar music, notated in tablature, from the 17th and 18th centuries. To judge from the style of the fugues and dances left to us – probably a mere fraction of his total output – Rainer worked at the turn of the 18th century.

The dances are mostly grouped in pairs – of allemandes followed by courantes, sarabandes and gigues. The allemandes are particularly impressive, often majestic and serious in mood, while the complementary dances are lighter in character. The title and authorship of several other works here is not easy to establish from the poor condition of the manuscript, but Lex Eisenhardt has assigned them to Rainer after close study of the source.

Rainer seems to have taken inspiration in several cases from the work of Arcangelo Corelli: the gigues in particular demonstrate a distinctly ‘violinistic’ approach, with abundant broken-chord figuration, and a contemporary sense of tonality and chord hierarchy. Rainer adapted Corelli’s language for the guitar with considerable imagination and ingenuity.

Recently retired as a long-standing professor at the conservatoire in Amsterdam, Lex Eisenhardt has studied, taught and performed at the forefront of the historically informed performance tradition on plucked instruments for more than 40 years, and this recording is deeply informed by his experience. In 2015 his widely acclaimed monograph on the baroque guitar was published by the University of Rochester Press, Italian Guitar Music of the Seventeenth Century. This is his debut album for Brilliant Classics.

[opera-ghosts]

Giacomo Lauri-Volpi (11 December 1892 – 17 March 1979) was an Italian tenor with a lyric-dramatic voice of exceptional range and technical facility. He performed throughout Europe and the Americas in a top-class career that spanned 40 years. Born in Lanuvio, Italy, he was orphaned at the age of 11. After completing his secondary education at the seminary at Albano and graduating from the University of Rome La Sapienza, he began vocal studies under the great 19th-century baritone Antonio Cotogni at the Accademia Nazionale di Santa Cecilia in Rome. His nascent singing career was put on hold, however, by the outbreak of World War I in 1914, during which he served with the Italian armed forces and emerged as one of Italy's most decorated soldiers. The war over, he made a successful operatic debut as Arturo in Bellini's I Puritani in Viterbo, Italy, on 2 September 1919—performing under the name Giacomo Rubini, after Bellini's favorite tenor, Giovanni Battista Rubini. Four months later, on 3 January 1920, he scored another success, at the Teatro Costanzi in Rome, this time performing under his own name opposite Rosina Storchio and Ezio Pinza in Massenet's Manon. Lauri-Volpi was widely acclaimed for his performances at Italy's most celebrated opera house, La Scala, Milan, between the two world wars. A highlight of his Milan seasons occurred in 1929 when he was chosen to sing  Arnoldo in La Scala's centenary production of Rossini's Guglielmo Tell. He was also a leading tenor at the New York Metropolitan Opera from 1923 to 1933, appearing there in a total of 307 performances. During this 10-year period he sang opposite Maria Jeritza in the American premiere of Puccini's Turandot and opposite Rosa Ponselle in the Met premiere of Verdi's Luisa Miller. His Met career was terminated prematurely after a dispute with the opera house's management. They wanted him to take a pay cut to help tide the theatre through the economic privations being caused by the Great Depression, but he refused to co-operate and left New York for Italy. Lauri-Volpi's most notable appearances outside Italy also included two seasons at the Royal Opera House, Covent Garden—in 1925 and 1936. By the latter date, he had broadened his repertoire, progressing from lyric roles to more taxing dramatic parts. His voice began to show consequent signs of wear in the 1940s, losing homogeneity. His thrilling top notes remained remarkably intact, however, right through until the 1950s. During the Second World War, Lauri-Volpi was based in Italy and was particularly admired by the country's dictator, Benito Mussolini. His last public performance in a full opera came in 1959, as Manrico, in a production of Verdi's Il Trovatore staged at Rome. Lauri-Volpi recorded a number of opera arias and duets for European and American gramophone companies during the height of his fame. His voice was a brilliant instrument at its zenith: bright, flexible and ringing in tone. He had astonishingly easy and penetrating high notes and possessed a shimmering vibrato which made his voice instantly recognisable both on disc and in the theatre. He sang roles as diverse as Arturo (in Bellini's  I Puritani) and Otello (in Verdi's Otello). In the process, he cemented his position as one of the supreme opera singers of the 20th century, even though he faced stiff competition from a remarkable crop of rival Mediterranean tenors during his prime in the 1925-1940 period. (They included Beniamino Gigli, Giovanni Martinelli, Aureliano Pertile, Francesco Merli, Galliano Masini, Tito Schipa, Antonio Cortis and Renato Zanelli—as well as the young Alessandro Ziliani and Giovanni Malipiero.)

[senzalinea-blog]

Maggio del Pianoforte, recital di Gianluca Badon.

Maggio del Pianoforte, recital di Gianluca Badon.

  Gianluca Badon, uno dei pochissimi pianisti diplomati sia all’Accademia Nazionale di Santa Cecilia che all’Accademia “Incontri col Maestro” di Imola, è il secondo concorrente a esibirsi per le finali del Maggio del Pianoforte 2018, contest per giovani talenti a cura del Maggio della Musica con la direzione artistica di Michele Campanella. Nel recital di domenica 14 ottobre, alle ore 11 al…

[comunicatistampablog]

Al via la 3a edizione del concorso di composizione “Michele Novaro”

Al via la 3a edizione del concorso di composizione “Michele Novaro”

La giuria presieduta dal Maestro Ennio Morricone premierà il compositore che meglio saprà tradurre in musica l’identità italiana.

La finale il 9 dicembre nel corso di un evento solenne in diretta su RAI-Radio3

Roma, 13 luglio 2018 – Nel 200esimo anniversario della nascita di Michele Novaro, autore della musica dell’Inno d’Italia, l’Associazione Mendelssohn ufficializza la terza edizione del…

[persinsala]

Il capitale di Karl Marx

Il capitale di Karl Marx

Il Teatro Argentina propone un progetto che vede coinvolti giovani attori e talenti, con l’intenzione di affrontare in maniera affascinante e originale uno dei classici della cultura moderna.

(more…)

[delectablywaywardbeard-blog]

Dieci anni senza Claudio Abbado, l' omaggio di Santa Cecilia

Una giornata di racconti, video e testimonianze per ricordare Claudio Abbado a dieci anni dalla morte. E’ l’ omaggio che il 3 febbraio l’ Accademia Nazionale di Santa Cecilia tributa al grande direttore d’orchestra con l’ incontro “Dirigere il futuro. Claudio Abbado tra utopia e realtà”, dalle 9:30 nella Sala Petrassi dell’ Auditorium Parco della Musica Ennio Morricone. In serata, repliche il 4 e…

[verdiprati]

Mostly Mezzo Mondays: Murrihy, Genaux, DiDonato, Cargill, and Lindsey; plus early, baroque, and galant goodies

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

It’s a real mezzo-fest this week:

Paula Murrihy jumped in to sing the recital at Zeist that Sarah Connolly had to withdraw from due to illness late last month; with accompanist Sholto Kynoch, she performed works by Brahms, Mendelssohn, Debussy, Clara Schumann, and Robert Schumann, as well as a selection of Irish folk tunes. You can hear the recital in deferred broadcast Tuesday, June 4 on NPO Radio 4.*

This past Saturday, Vivica Genaux and Laurence Zazzo sang a concert of Handel arias (on the theme of “gender stories,” apparently) with the Lautten Compagney Berlin conducted by Wolfgang Katschner. It comes up for deferred broadcast Tuesday, June 4 on MDR Kultur.

I know one lucky Tumblr friend who has gone to Rome to hear her idol Joyce DiDonato in concert with the Accademia Nazionale di Santa Cecilia. If you’re not quite that lucky, you can hear a live broadcast Wednesday, June 5 on Rai Radio 3.

I don’t often put instrumental stuff in my Mostly Mezzo Mondays list but I happened to listen earlier today to a previously-broadcast concert with Jordi Savall and Xavier Díaz-Latorre, and it was exquisite. Thus, their concert with Andrew Lawrence-King and Hesperion XXI has caught my eye on World Concert Hall tonight. Deferred broadcast Wednesday, June 5 on BBC Radio 3.*

Karen Cargill is scheduled to sing Das Lied von der Erde in Berlin on Wednesday this week, with Simon O’Neill and the DSO (Ticciati conducting). The concert will be broadcast a day later, Thursday, June 6, on Deutschlandfunk Kultur.

Anyone who would like to hear Kate Lindsey in Les contes d’Hoffmann can tune in for deferred broadcast of a performance recorded in Los Angeles in 2017. Vittorio Grigolo, Nicolas Testé, and Diana Damrau are among her co-stars. Saturday, June 8 on KUSC.

Here’s a post-baroque rarity that might be of interest: Galuppi’s opera buffa Il mondo alla roversa. The plot, I gather, involves a fictional island where women rule over men (spoiler alert: the moral of the story is not that this is a sensible idea). This performance by the French orchestra Akadêmia features singers I’m not familiar with. Deferred broadcast Sunday, June 9 on France Musique.*

Broadcasts marked with an asterisk (*) are on stations known to me to have a history of making concerts available for listening on demand for at least a week after the initial broadcast. (Stations that are not so marked might do so also; I just mark the ones I’m familiar with.)

[schubertsechi]

Great performance of Seong-Jin !!!

https://youtu.be/rWLTJ0uj9yo

Beethoven: Piano Concerto No. 3 in C minor, Op. 37 Orchestra dell' Accademia Nazionale di Santa Cecilia 8 Antonio Pappano (Piano: Seong-Jin Cho) Nov 16, 2018 at Seoul Arts Center Concert Hall ✨