#libiamo ne’ lieti calici

[rayatii]

I would like to use a recording of Libiamo (aka Brindisi or Champagne aria from La traviata) for a short video for my TV production course. Anyone have any suggestions?

[opera-ghosts]

I wish you all a very Good New Year.

Arthur Preuss & Elise Elizza - Libiamo ne' lieti calici

Arthur Preuss (1878-1944) was one of the finest character tenors of the early 20th century. Born the son of a merchant in Königsberg, Preuss wanted to be a singer from childhood. The boy’s father supported his son’s singing ambitions and sent him to Berlin to study at the tender age of fifteen. During this period of study, Preuss was heard by renowned composer and conductor Gustav Mahler, who was greatly impressed by the young tenor’s singing. Mahler secured an engagement for Preuss at the Vienna Hofoper, where the young tenor took on such buffo roles as David in Die Meistersinger, Monostatos in Die Zauberflöte, Pedrillo in Die Entführung aus dem Serail, Leopold in La Juive, Beppe in Pagliacci, the Marquis in Zar und Zimmerman, Baba Mustafa in Der Barbier von Bagdad and others. While working under Mahler at the Hofoper, Preuss was an invaluable member of the company, singing over 100 performances each season. The tenor participated in ten premieres, including first Vienna performances of Madama Butterfly (Goro) and Der Rosenkavalier (Valzacchi). Preuss left the Hofoper in February of 1915 following a personal clash with director Hans Gregor. He sang for a few years at the Vienna Volksoper and made a handful of guest appearances at the Staatsoper. By the mid-1920s, Preuss began participating in early radio broadcasts, including transmissions of complete operas. The tenor’s lyric tone had darkened somewhat, allowing him to essay such roles as Max in Der Freischütz and the title role in Fra Diavolo. Preuss was also intrigued by the advent of sound films, and lent his acting and singing talents to a few early German talkies. Following his retirement from active performing in 1930, Preuss opened a successful singing school in Vienna. The retired tenor continued working with young students throughout the 1930s and into the war years. Although he was largely neutral in his political leanings, Preuss’ son was active in the anti-Nazi resistance movement in Czechoslovakia. On August 20, 1944, the elder Preuss was arrested by the Gestapo and interrogated as to his son’s activities. Although he does not seem to have been physically abused by his captors, the emotional strain proved too much for the sixty-six-year-old tenor. In the midst of the lengthy interrogation, Preuss collapsed to the floor, dead from an apparent heart attack.

Arthur Preuss made a few discs for G&T and the Gramophone Company in the early years of the 20th century. These recordings reveal a voice that was well suited to both character parts and leading lyric tenor roles. Although Preuss easily transitioned from the comic roles of Pagliacci and Abduction From the Seraglio to the romantic leads of La Traviata and Merry Wives of Windsor, his was essentially a buffo tenor…albeit a very attractive and expressive buffo tenor. In this recording, Preuss joins soprano Elise Elizza (1870-1926) for a German language version of "Libiamo" from Act I of Verdi's La Traviata. This was recorded for G&T in 1904.

[sakuragozen-345]

Mulled juice cookie and Shine Muscat Cookie sing the drinking song from La Traviata

[myslodsiewniav]

19-11-2024

Jestem padnięta...

Mój mózg już w sobotę miał takie "nope" na wszystko co się działo. Wszystkie było za dużo, za bardzo, za, za, za. W niedzielę jechałam na zajęcia z myślą, że muszę się zebrać w sobie i odbębnić zaliczenia. Bo nawet niespecjalnie przyjmowałam treści - jednym uchem wchodziło, drugim wychodziło. I wszystko irytowało. Szczęście takie, ze miałam fantastyczne zajęcia z fantastycznymi ludźmi i się wciągnęłam, ale prawdę mówić mój mózg nie pamięta. Wszystko zlewa się w hałas po prostu...

W niedzielę wieczorem O. zabrał mnie na koncert-niespodziankę. Byłam padnięta... ale słuchanie muzyki spowodowało, że szczerzyłam zęby od ucha do ucha tak silnie, że kolejnego dnia miałam zakwasy od uśmiechu. Dawno tak szeroko i tak długo, tak intensywnie się nie uśmiechałam. Muzyka operowa i język włoski - dla mojego partnera pierwsze zetknięcie z Operą i najbardziej go cieszyło, że Włosi śpiewają po włosku, a on rozumie tak 40% tego o czym śpiewają.

We mnie muzyka wywołała ten sam efekt, co masaże dźwiękiem misami: całe ciało mi drżało jeszcze dłuuuuugo później. Miałam problem by zasnąć (mimo tego, że od nagromadzenia stresu, deadlinów i przebodźcowania wydarzeniami i informacjami byłam padnięta, z oczami opuchniętymi, zmęczona tak baaaardzo) - przez tę muzykę jakbym była naelektryzowana. Po prostu WOW. Jeden z tenorów miał taką miękkość i zarazem szorstkość w głosie, że przeszywały mnie dreszcze, gdy śpiewał. I było to zarazem zaskakujące i zarazem przyjemne.

Wróciliśmy do domu rozprawiając o "Tosce" (jakoś aż do wczoraj nigdy nie była na moim radarze, nie znam tych utworów, a były piękne) i "La Traviacie" (nadal uważam te Operę za najbardziej rozczarowującą i zachwycającą na jakiej byłam - przy czym “Libiamo, ne’ lieti calici” to nadal największy fun zarówno dla widowni i dla performancerów, ale ten radosny utwór daje straszliwie mylne wyobrażenie o tym czego może dotyczyć cała Opera xD) i prowadząc seri-serio rozmowę o estetyce najnowszego desingerskiego warszawskiego potworka o którym zaskakująco często ostatnio rozmawiam z równymi ludźmi - o budynku Muzeum Sztuki Nowoczesnej w Warszawie. Początkowo widziałąm tylko zdjęcia i filmy z wnętrz i nie rozumiałam o co ten szum. A w niedzielę wieczorem zobaczyłam elewacje i bryły i mnie naprawdę wzięło krindżem. No to mamy to - mamy nasz odpowiednik szklanej piramidy z Luwru...

A w poniedziałek... ech.

Zapierol...

Dziś... zapierdol... już warczę i krzyczę na ludzi. Nie wspomnę o tym, że lekko mówiąc średnio sypiam, bo mam wciąż koszmary... więc dziś biorę sobie wolne na resztę dnia, bo nie wyrobię. I chyba zrezygnuję całkiem z tego kursu druku 3D - nie dam rady tego zadowalająco ciągnąć jednocześnie robiąc projekt, pracując, studiując, ogarniając zdrowie mojego psa, swoje, jakieś podstawowe potrzeby jak gotowanie, zmywanie, pranie...

Trudna to decyzja, ale chyba najlepsza możliwa w obecnej chwilii.

[devonfuller]

The Three Tenors in Concert 1994: Brindisi ("Libiamo ne' lieti calici")  from La Traviata.

Les Trois Ténors interprètent en concert le célèbre brindisi de La Traviata de Verdi avant la Coupe du monde de 1994 à Los Angeles.

Pour ce concert légendaire, José Carreras, Plácido Domingo et Luciano Pavarotti ont été rejoints par le chef d'orchestre Zubin Mehta, le L.A. Philharmonic et le L.A. Music Center Opera Chorus au Dodger Stadium, où ils ont enchanté avec une sélection d'airs d'opéra et de favoris internationaux, spécialement orchestrés par le compositeur/arrangeur Lalo Schifrin.  

[uncanny-tranny]

Okay, if I had to simplify my gender into one song, it would absolutely have to be Libiamo ne' lieti calici. Like, I am going absolute feral right now. Do you see this vision of mine.

[theimpossiblescheme]

to dance with my father - playlists for Noilly Prat (for Swing Day of @flame-x‘s Kittens Week) and Bustopher Jones

01. suite iI overture - janelle monáe | 02. la marelle / amarelinha - birds on a wire | 03. into the unknown - j. fla | 04. don’t stop me now - foxes | 05. violin concerto no. 3 in g major, k. 216: III. rondeau: allegro - wolfgang amadeus mozart | 06. dancing queen - abba | 07. kings and queens - ava max | 08. chasing pavements - postmodern jukebox | 09. rabbit hole - mindy gledhill | 10. i could have danced all night - ella fitzgerald | 11. la valse d'amélie - yann tiersen | 12. happy feet - cab calloway | 13. fama destinate - ludvig forssell | 14. magic - kylie minogue | 15. silent shuffle - parov stelar | 16. salted caramel ice cream - metronomy | 17. op. 46: II. clair de lune - barbara hendricks | 18. these dreams - heart | 19. follow the stars - swingrowers [listen]

01. bugle call rag - benny goodman | 02. puttin’ on the ritz - fred astaire | 03. no charge - caro emerald | 04. the snowstorm: II. waltz - georgy sviridov and vladimir fedoseyev | 05. boheme supreme - tape five | 06. scenes from an italian restaurant - billy joel | 07. hello dolly - louis armstrong | 08. just one of those things - frank sinatra | 09. cracking the chrysanthemums cypher - daniel pemberton | 10. finesse - postmodern jukebox | 11. i remember it well - maurice chevalier and hermione gingold | 12. libiamo ne’ lieti calici - luciano pavarotti | 13. i went to a marvellous party - patricia routledge | 14. i kiss your hand, madame - perry como | 15. poirot variants - christopher gunning | 16. nuages - tatiana eva-marie and daniel garlitsky | 17. north by ten and by ten - patrick gowers | 18. if love were all - barbara cason | 19. a nightingale sang in berkeley square - nat king cole [listen]

[infinitelytheheartexpands]

Spotify Wrapped: 24, 78, 91

24:

78:

91:

[retrojoss]

The Three Tenors - Libiamo Ne' Lieti Calici

[sunset-supergirl]

Happy birthday Dame Joan Sutherland

[opera-ghosts]

Wanda Wermińska - Libiamo ne’ lieti calici (Giuseppe Verdi, "La Traviata")

Wanda Wermińska (18 November 1900 – 30 August 1988) was a Polish operatic dramatic soprano and mezzo-soprano.

made her operatic debut in 1923 at the Grand Theatre, Warsaw as Amneris in Verdi's Aida with great success. For the role of Carmen in Bizet's opera, she took dance lessons with the flamenco dancer La Argentina. In operas such as Il trovatore, Un ballo in maschera, Don Carlos, Fidelio, Le nozze di Figaro, Andrea Chénier, Lohengrin, Tannhäuser, Die Walküre and Halka she took on more than forty roles in the mezzo-soprano and soprano genres in the 1920s.

In 1929, Wermińska left Poland and made guest appearances in Vienna, Berlin, Bucharest, Prague, Riga, Stockholm, Copenhagen, Milan, Rome, Venice, Madrid and Alexandria, among other places. In Budapest she appeared alongside Feodor Chaliapin in Faust, which invited her to perform in Boris Godunov at several European theatres.

During the period of the Second World War, Wermińska lived in South America, where she had engagements in Argentina (Teatro Colón), Brazil, Chile and Mexico, under the conductors Bruno Walter Fritz Busch and Wilhelm Furtwängler and with soloists such as Kirsten Flagstad, Maria Caniglia, Fedora Barbieri, Beniamino Gigli, Lily Pons and Mario del Monaco.

She returned to Poland in 1947, where she continued to perform as an opera and concert singer, also on radio and television, and worked as a music teacher. She was highly regarded as the "Mother of Polish Opera".

[ashotasfireandasdeepastheocean1]

...🎶❤️

.

Maria Callas as Violetta in La Traviata, Lisbon, Teatro Nacional de São Carlos, 27 March 1958.

[mamusiq]

Libiamo (from La Traviata)

 André Rieu (4K)

André Rieu & His Johann Strauss Orchestra performing Libiamo (The Drinking Song) from La Traviata live in Maastricht. Taken from the DVD Love is All Around. For tour dates visit: http://www.andrerieu.com/tour

Original Lyrics:

Libiamo, libiamo ne' lieti calici, che la bellezza infiora E la fuggevol, fuggevol ora s'inebriì a voluttà Libiam ne' dolci fremiti che suscita l'amore Poichè quell'occhio al core onnipotente va Libiamo, amore, amore fra i calici più caldi baci avrà Ah! Libiam, amor fra' calici più caldi baci avrà Tra voi, tra voi saprò dividere il tempo, mio giocondo Tutto è follia, follia nel mondo ciò che non è piacer Godiam, fugace e rapido il gaudio dell'amore È un fior che nasce e muore, nè più si può goder Godiam! C'invita, c'invita un fervido accento lusinghier Ah! Godiamo! La tazza, la tazza e il cantico, la notte abbella e il riso In questo, in questo paradiso ne scopra il nuovo dì La vita è nel tripudio Quando non s'ami ancora Nol dite a chi l'ignora È il mio destin così Ah! Godiamo! La tazza, la tazza e il cantico, la notte abbella e il riso In questo, in questo paradiso ne scopra il nuovo dì Ne scopra il nuovo, il nuovo dì Ne scopra il nuovo, il nuovo dì

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

[the-honest-fellow-fellow-honest]

-*Comes in dressed in a Victorian-era gown in the style of a blue bird with a fancy feathered hat and parasol and smiles curtly to Fellow as I offer a listed paper from my gloved hand*- ✨️

You may not know me through these parts of the crowds, though have you considered the following opera segments in your shows? I assure you, with me at your side, I can make those performances of yours more artistic than you will ever imagine~...😌

Habanera ("L'amour est un Oiseau rebelle") - Carmen

Libiamo ne' lieti calici/Noi siamo zingarelle - La Traviata

Les oiseaux dans la Charmille/Barcarolle - Les Contes D'hoffmann

Una Voce Poco Fa/A un dottor della mia sorte - The Barber of Seville

Ah Mes Amis! - La fille du régiment

Zitto, zitto: piano, piano/Questo è un nodo avviluppato - La Cenerentola

Le veau d'or - Faust

hmmmmmmm… you know what, I’ll think about it! Could bring in so good money

[devonfuller]

Aida Garifullina 👸🏻& Piero Barone  🤴🏻 

( Il Volo ) - Libiamo ne’ lieti calici | Arena di Verona ) 2023

[mikahorror]

Pretty Yende and Benjamin Bernheim - Verdi: La traviata, "Libiamo, ne' lieti calici"