#maggie teyte

[emotionsincascades]

Debussy: Le promenoir des deux amants: I. Auprès de cette grotte sombre

Maggie Teyte (soprano) & Alfred Cortot (pianiste)

[joansutherlandfan]

Celebrating the anniversary of the legendary soprano Kirsten Flagstad!!!

(12 Jul 1895 - 7 Dec 1962). 💐🎂👏🏼🎉🎁🎈

"Irene Ravensadale was very friendly and invited me to a memorable performance of Dido and Aeneas at the old Mermaid Theatre, with Kirsten Flagstad and Maggie Teyte. It was one of the only two times I heard my idol in person and although I was enchanted I felt she was holding back the volume of sound for that very small house. I would have given a great deal to have heard her final performances at Covent Garden as Richard had the year previously. " Joan Sutherland

[books0977]

Maggie Teyte (1907). Sir John Lavery (Irish, 1856-1941). Oil on canvas. NPG.

Dame Maggie Teyte was an English operatic soprano and interpreter of French art song. She made her first public appearance in Paris in 1906 when she sang Cherubino in The Marriage of Figaro and Zerlina in Don Giovanni, both conducted by Reynaldo Hahn. Her professional debut took place at the Opera House in Monte Carlo on 1 February 1907, where she performed Tyrcis in Myriame et Daphné.

[opera-ghosts]

Alice Verlet (1873–1934) was a Belgian-born operatic coloratura soprano active primarily in France. She sang principal roles at the operas in Lyon, Nice, and Monte Carlo; at His Majesty's Theater in London; at La Monnaie in Brussels; and at the Paris Opéra and Opéra-Comique. In the United States, although not entirely absent from the operatic stage, she was known primarily as a concert singer and was a featured singer on Edison records. Verlet made her debut at the Opéra-Comique in 1894. as Philine in Thomas's Mignon On July 16, 1895, she appeared in England, participating in a concert at the Masonic Hall in Birmingham presented by Mme. Moriani to showcase her pupils. Two other participants, now long forgotten, had already made debuts in London, but with some prescience Mme. Moriani emphasized to the press that the Opéra-Comique had recently engaged Verlet as prima donna.From that point forward, Verlet enjoyed a successful career, particularly in Francophone Europe. Her debut at the Monnaie in Brussels took place on September 7, 1901, in Verdi's Rigoletto; she remained a member of that company for the balance of the season and later would make periodic appearances there. Her debut at the Paris Opéra, as Blondine in a French-language production of Mozart's Die Entführung aus dem Serail, came in 1903. She sang her first Rigoletto in that house on April 11, 1904; Adelina Patti, who was in attendance, conspicuously displayed enthusiasm for Verlet's singing and offered congratulations to Verlet's teacher, Mme. Moriani. In 1905 and 1906, Verlet played the Naiad in the first modern revival of Gluck's Armide in Paris. Other cast members included Lucienne Bréval, Agustarello Affre, Dinh Gilly, and Geneviève Vix. Two years later, she was at the Théâtre de la Gaîté-Lyrique for a run of Lakmé with David Devriès and Félix Vieuille. Verlet assembled a company and undertook a tour of England in 1910. Other members included contralto Edna Thornton and pianist Mark Hambourg; the accompanist was Cyril Towsey of Wellington, New Zealand, who had carved out a career performing in such ad hoc groups.In July, Verlet returned to Birmingham, the scene of her English artistic "coming out" 15 years before, as a participant in daily concerts for the city's centenary fetes, although perhaps upstaged by a massive air show, not unmarred by fatal crashes of the then-novel machines. She was again in distinguished artistic company, organized and directed by Dan Godfrey: other participants included singers Nellie Melba, Agnes Nicholls, and Harry Plunket Greene; pianists Wilhelm Backhaus, Myra Hess, and Benno Moiseiwitsch; and violinist Mischa Elman. Verlet made her London debut one month earlier as a participant in the Thomas Beecham Opera Comique Season at His Majesty's Theater. As in her Paris Opera debut, the opera was Die Entführung aus dem Serail, but now Verlet played Constanze opposite Maggie Teyte as Blonde and Robert Radford as Osmin, all under Beecham's baton. Shortly after completing her first season at the Opéra-Comique, Verlet sang at the residence of the American ambassador to Belgium. The result was an invitation to make her first visit to the United States, which led to her US debut in August 1896. Among her early US engagements was at the sold-out May 10, 1897, inaugural concert of the Fanny Mendelssohn Society, a women's choral group founded and directed by J. Alfred Pennington, in Scranton, Pennsylvania. Interspersed with selections for the chorus and for harpist Maude Morgan, Verlet sang two songs, "The Kiss" by Helmund and "Les Filles de Cadiz" by Léo Delibes; two operatic excerpts, the Spinning Song from Wagner's Der fliegende Holländer and the Shadow Song from Meyerbeer's Dinorah; and, together with all the other artists assembled, including accompanist Charlotte Blackman, Horatio Parker's part song for women's chorus, composed only five years earlier, "The Fisher". Verlet's interpolation of a high concluding note in the Meyerbeer earned her a standing ovation and encore. At the time of the Scranton

performance, Verlet counted 25 operas in her repertoire; could sing fluently in French, Italian, and German; and planned to make her New York debut at Carnegie Hall on the following November 1 in a Damrosch concert. Some twenty-five years later, ending a concert tour on March 17, 1922, Verlet would revisit that hall to present a program including European operatic arias "from Mozart to Massenet" and songs by US composers including Henry Hadley and Thurlow Lieurance. Accompanying her were pianist J. Warren Erb and a young Spanish-born classical violinist from Cuba named Xavier Cugat, who soon would shift genres and go on to fame as the "rhumba king", the first leader of a successful Latin dance band in the United States. Although primarily a concert singer in the United States, Verlet did perform some opera. In 1915 the Chicago Opera engaged her as Philene in several performances of Thomas's Mignon. Also in the cast were Conchita Supervia, Charles Dalmorès, and Marcel Journet. She also performed with the Boston Opera. Verlet retired from performing in 1920. Thereafter, she taught voice until her death in Paris in 1934.

[thekolsocial]

Join KOL Social for A Night Of Opera: The Aspern Papers

New Post has been published on https://thekolsocial.com/events/join-kol-social-for-a-night-of-opera-the-aspern-papers/

Join KOL Social for A Night Of Opera: The Aspern Papers

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Fancy a night of Black / Brown Opera? Yes, it exists! Dust off your finery, clink a glass with us and join fellow opera lovers for the highly anticipated The Aspern Papers on Friday 22nd April at 7.30pm at London’s Susie Sainsbury Theatre.

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The Aspern Papers is a novella by American writer Henry James, originally published in 1888. It is one of James’ best-known and most acclaimed longer tales. Set in 19th-century Venice, The Aspern Papers tells the tale of ambitious editor Henry Jonson who is trying to obtain poet Jeffrey Aspern’s romantic letters to Juliana Bordereau – his beautiful muse and lover. Composer Philip Hagemann has adapted The Aspern Papers into a thrilling opera.

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The production is presented by Pegasus Opera Company, in association with Hagemann Rosenthal Associates, who creates opportunities for underrepresented artists and breaks down the perception that opera is elitist, and we are here for it.

The Aspern Papers stars Jacob Bettinelli, a bass baritone originally from Hong Kong. He won third place in the Piemonte Opera Voci dal Mondo International Singing Competition in Italy; Lauren Easton, an Australian/Mauritian mezzo soprano plus Melody Compton, Oscar Castellino, Monwabisi Lindi and Julia Daramy-Williams. Legendary Tenor Ronald Samm also stars.

Artistic Director of Pegasus Opera Company and renowned soprano soloist Alison Buchanan (main image) plays Tina. She is the winner of many prestigious awards including the Kathleen Ferrier (Decca Prize), the Luciano Pavarotti, the Washington International and the Maggie Teyte competitions. Alison has performed with New York City Opera in Porgy & Bess and Don Giovanni

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Pegasus Opera Company is a professional opera company based in Brixton, London with a family of widespread international artists, participants and supporters. They produce high-quality performances and balance this with a focus on artist development of emerging artists of African and Asian heritage bringing their work onto eminent platforms. For almost thirty years, Pegasus Opera Company has been the go-to organisation for opera and musical theatre singers, composers, instrumentalists and directors predominantly, but not exclusively, from diverse African, Caribbean, and Asian backgrounds. 

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Established in South London the Company has held true to their founder Lloyd Newton’s credo of ‘harmony in diversity’. Pegasus Opera has inspired many to love opera; and celebrate the music of rich African, Asian and Caribbean diasporas whilst weaving into the fabric of the British performing arts, using creativity to challenge and advocate for positive change.

Patrons of Pegasus Opera are Sharon D Clarke MBE, Dame Kiri Te Kanawa DBE, Baroness Doreen Lawrence OBE, Kristin Lewis, Chuka Umunna MP and Roderick Williams OBE.

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Past productions include Carmen, Magic Flute, I Pagliacci on National Tours, Porgy and Bess at the Barbican Concert Hall, Delius’ Koanga at London’s Sadler’s Wells and Treemonisha at Queen Elizabeth Hall, Southbank Centre and UK tour. Most recently the company staged MAMI WATA to a sold-out audience at the Royal Opera House.

If you cannot join us

The Aspern Papers will be staged at Susie Sainsbury Theatre, Royal Academy of Music, Marylebone Road, London NW1 5HT on Friday 22 April at 7:30pm, Saturday 23 April, 7:30pm & Sunday 12 April 2022, 2.30pm Tickets are £35, £25, Concessions £15

BOOK HERE: https://www.ticketsource.co.uk/pegasus-opera-company/e-kxyrog

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[todayclassical]

May 26 in Music History

1591 Birth of Dutch organist, harpsichordist, and composer Janszoon Sweelinck in Amsterdam. 

1595 Death of Italian priest and composer Filippo Neri in Rome. 

1731 Birth of composer Orazio Mei.

1773 Birth of Swiss composer and publisher Johann Hans Nageli in Wetziken. 

1776 Birth of bass Joseph Adrien Martin in Liege. 

1778 FP of Gossec's "La Fête de village" Paris.

1782 Birth of Austrian composer Joseph Drechsler.

1794 First documented public appearance of #violinist #Paganini at the church of S. Filippo Neri.

1803 FP of Paer's "Sargino, ossia L'Allievo dell'amour" Dresden.

1825 Birth of composer Felipe Gutierrez y Espinoza.

1846 Birth of composer Arthur Coquard.

1853 Birth of composer Monroe A Althouse.

1856 Birth of composer George Templeton Strong.

1868 Death of Czech soprano Caroline Grunbaum. 

1885 Birth of Italian composer Leonardo Pacini in Pistoia.

1886 Birth of American composer Alice Barnett.

1889 Birth of Swedish tenor Aroldo Lindi.

1893 Birth of English composer and conductor Sir Eugene Goosens III.

1898 Birth of American composer, pianist and conductor Ernst Bacon.

1898 Birth of soprano Margarete Bäumer in Dusseldorf.

1898 Birth of composer Gerard Bertouille.

1904 Birth of French pianist, Vlado Perlemuter. 

1905 Birth of composer Hans Holewa.

1912 Death of Belgian composer Jan Blockx in Kapellenbos. 

1914 FP of Stravinsky's Le Rosignol by Ballet Russe in Paris.

1916 Birth of American composer Louis Hardin in Marysville, KS. 

1917 Birth of Swiss-Austrian soprano Inge Borkh in Mannheim. 

1924 Death of Irish-American composer and cellist Victor Herbert in NYC. 

1925 Birth of Dutch composer and organist Willem Hendrik Zwart.

1926 Birth of American tenor and conductor Herbert Handt in Philadelphia. 

1926 Birth of Austrian-born British composer Joseph Horovitz.

1926 FP of George Auric´s ballet La Pastorale in Paris.

1926 Birth of composer Maria de Lourdes Martins.

1932 FP of Moore's Mary "Rizzio" Los Angeles.

1937 Birth of Roumanian-American composer Yehuda Yannay.

1937 Birth of Finnish baritone Kari Nurmela in Viipuri. 

1937 Birth of soprano Elaine Manchet in Mali. 

1938 Birth of Canadian soprano Teresa Stratas in Toronto. 

1938 Birth of American composer and pianist William Bolcom in Seattle, WA.

1941 Birth of composer Imants Kalnins.

1946 Death of Japanese soprano Tamaki Miura.

1946 FP of Serge Prokofiev's opera War and Peace, in Leningrad.

1948 Birth of Iranian conductor and composer Ali Rahbari in Varamin.

1949 Birth of American soprano Deborah Polaski, in Richmond Center, WI. 

1953 FP of Stockhausen's Kontra-Punkte for ten instruments, in Cologne.

1955 Birth of American composer Janika Vandervelde.

1958 Birth of English composer Howard Goodall.

1959 Death of bass-baritone Ferdinand Frantz. 

1962 FP of Anton Webern's Im Sommerwind, at the First International Anton von Webern Festival 

1963 FP of Lou Harrison's Pacifika Rondo for an orchestra of Western and Oriental instruments, at the University of Hawaii.

1964 FP of A. Copland's Music for a Great City from film score Something Wild. London Symphony conducted by the Copland.

1967 FP of George Crumb's Echoes of Time and the River- Four Processionals for Orchestra.

1973 Birth of American composer Armando Bayolo.

1976 Death of English soprano Maggie Teyte. 

1978 Death of Russian soprano Elena Stepanova.

1982 Death of Swedish soprano Nanny Larsen-Todsen. 

1987 Death of bass Robert Easton. 

1990 FP of Philip Glass' chamber opera Hydrogen Jukebox poems by Allen Ginsberg. Philip Glass ensemble conducted by Martin Goldray. 

1993 Death of Dutch composer Cor de Groot in suburban Hilversum. 

2002 FP of Henry Brant's Ghosts and Gargoyles for solo flute and flute ensemble. Robert Aitken and the New Music Concerts Ensemble, conducted by the composer in Toronto, Canada.

[operalover2020]

Maggie Teyte, cuyo verdadero nombre fue Margaret Tate, nacida en Wolverhampton el 17 de abril de 1888, fue una cantante de ópera inglesa. Fue la última de una vieja familia hugonote expulsada de Francia por el Edicto de Nantes.

[gyrlversion]

Opera singer Anna Patalong forced to change dress for being pro-EU

Anna Patalong wore a yellow ball gown with a blue waistband and a necklace covered in gold stars as she performed in Classical Spectacular at the Royal Albert Hall in London on Sunday 

An opera singer was forced to change the pro-EU dress she wore during her Royal Albert Hall concert after people complained it was ‘too provocative’.

Anna Patalong wore a yellow ball gown with a blue waistband and a necklace covered in gold stars as she performed in Classical Spectacular at the prestigious London venue on Sunday. 

But her husband, baritone singer Benedict Nelson, claims she was made to take it off after complaints from the audience.

One concert-goer tweeted him to say, although she is also a Remainer, a classical music concert should not risk bordering on a ‘political rally’.

The day before the incident the soprano singer posted a picture of herself at the Put It To The People March in London with pro-EU MPs Chuka Umunna and Anna Soubry.

In a series of tweets, Ms Patalong’s husband hit out at those criticising his wife.        

He wrote: ‘Yesterday a man was ejected from the ROH for wearing a pro EU T-shirt. 

‘Today my wife was asked to change her dress from yellow and blue at the RAH as the colours were too provocative.

‘Two artistic venues people. Anyone who knows their history knows what that sounds like.’

Ms Patalong is pictured wearing a necklace with gold stars and a dress with a blue waistband covered in yellow stars 

The day before the incident the soprano singer (pictured centre with her daughter) posted a picture of herself at the Put It To The People March in London with pro-EU MPs Chuka Umunna (left) and Anna Soubry (right) 

Mr Nelson, who posted two pictures of the dress Anna wore during the performance, continued: ‘If you can’t enjoy a three hour concert because a performer wears some visible gold stars for 3 minutes of it, you need to have a word with yourself.’ 

But Angela Whelan, who went to the concert, was not impressed and claimed yellow stars appeared on the blue waistband to look like the EU flag as the performance went on.

She commented: ‘As a remainer who was at the RAH concert, I feel you have omitted a small but not so minor detail in your original post. 

‘Your wife looked as beautiful as she sounded in her yellow dress with blue sash. 

‘However, as the concert progressed some yellow stars appeared on the sash.

‘…. a very bold statement indeed. In my opinion the public paid to come to a classical music concert and not a political rally. 

‘As much as I applaud your wife for having the guts to quite literally nail her colours to the mast, I feel it was inappropriate to do it at a concert.’

In a series of tweets, Ms Patalong’s husband Benedict Nelson hit out at those criticising his wife

Mr Nelson replied: ‘Well, forgive me Angela, but who cares what you think of what my wife wears?’

Ms Whelan accused him of ‘whipping up a twitter storm without posting the full facts of how the dress looked’.

This prompted Mr Nelson to ask: ‘Again Angela, I have to ask you: what is the problem with her wearing a dress suggestive of the EU flag?’

He added: ‘We know who complained Angela, and we were told the reasons. 

‘We don’t understand why their views have come above the desires of all the support Anna has been shown from the orchestra, choir and many many members of the audience on here and in person.’

He also pointed out to Ms Whelan that the Union Jack is waved as part of the concert. 

MailOnline has contacted the Royal Albert Hall for comment.  

Mr Nelson became embroiled in a Twitter row with one of the people who attended his wife’s concert 

In an post relating to an earlier performance, Mr Nelson tweeted: ‘So proud of my wonderful wonderful wife who, faced with a sea of Union Jack wavers at the Albert Hall, reconfigured Rule Britannia to the tune of Ode to Joy. She’s my hero. #PeopleVoteMarch #Brexit’

Sunday’s concert was part of a series celebrating 30 years of Classical Spectacular, branded the ‘UK’s most popular classical show’.

It featured the ‘very best classical music’ from various composers and ‘state of the art technology and electrifying multicoloured laser displays’.  

Ms Patalong has received numerous awards, including the Maggie Teyte and Miriam Licette Prizes and was a finalist at the Kathleen Ferrier Awards.

She has appeared in various productions including: Anne Trulove (The Rake’s Progress) for the St Endellion Festival, Adina (L’elisir d’amore) for Northern Ireland Opera, Cendrillon for Blackheath Halls Opera, Zerlina (Don Giovanni) for Mid Wales Opera and Lauretta (Gianni Schicchi) for Opera Holland Park.

She is also prolific recitalist, performing at venues including the Wigmore Hall, the Royal Albert Hall and the Barbican, and has appeared on BBC Radio 3’s ‘In Tune’.

A picture of Trafalgar Square in London on Saturday shows crowds of people supporting the Put It To The People march 

The post Opera singer Anna Patalong forced to change dress for being pro-EU appeared first on Gyrlversion.

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[mpdsf]

#ThrowbackThursday @mpdsf

On March 13, 1916, Maggie Teyte sang a collection of songs at the Columbia Theatre in San Francisco. Maggie Teyte was a young English soprano with a promising career and this was her first appearance in San Francisco. When she had appeared just ten days earlier with the St. Louis Symphony Orchestra a reviewer wrote, " You have a strangely thrilling sensation which voices itself in the words she is singing. You are brought into the same relation toward music as you were toward acting when you first saw Maude Adams in "Peter Pan"."  Her appearance this night had been long awaited, since Ms. Teyte's non-appearance the year before was a large disappointment to opera goers.

Image of Maggie Teyte from the collection of the Museum of Performance + Design

[amusiclibrary]

Beau Soir - Claude Debussy

Voice: Dame Maggie Teyte Piano: Gerald Moore 

[opera-ghosts]

  Despite Mary Garden's Scottish birth and return to roots in 1939, Paris and Chicago were the centers of her career as a diva with a difference. In Ronald L. Davis' words, she was "gracious and charming, but above all things, brainy," as much an actress as a singer, "the Sarah Bernhardt of the operatic stage." Her range was formidable. She informed one interviewer that "I have 34 roles in three languages which I have learned completely. Sixteen were written for me." Those 16 did not include Debussy's Mélisande, but the composer chose and coached her for the first (and at that time only) performance of Pelléas on April 20, 1902, at Paris' Opéra-Comique. Debussy wrote in her score,"You alone will remain the woman and artist I had hardly dared hope for." He also coached and cherished Maggie Teyte later on, but Garden was the original. She introduced Mélisande to New York in 1908 (at Oscar Hammerstein's Met-competitor, the Manhattan Opera House), and to Chicago at a matinee on  November 3, 1910, two days after their new Grand Opera Company debuted in Adler and Sullivan's Auditorium Theater. Garden, noted for her "stillness" as Mélisande, continued to sing the role until 1931, her last year in Chicago, where she reigned for 21 seasons, one of them as "directa" (her coinage) of the notoriously costly season of 1921-1922: a $1.1 million deficit.  In 1934, Garden sang her final opera, Alfano's Resurrection, fittingly, at the Opéra-Comique. She had debuted there as Charpentier's Louise on April 13, 1900, two months after the premiere, replacing Marthe Rotion, who fell ill after the second act. This, too, became a Garden specialty for the next 30 years. Instantly famous, she created Pierné's La fille de Tabarin even before Mélisande. In 1905 Massenet wrote Cendrillon for her; Erlanger added Aphrodite in 1906. She also performed Gounod's Marguerite and Juliet, Verdi's La traviata, Puccini's Tosca, Montemezzi's Fiora, and Honegger's Judith (in 1927). It was Strauss' Salome, however, that made her a sensation stateside when she sang it on January 27, 1909, for Hammerstein, in Oscar Wilde's original French. She spent two years learning the role, tried it out in Paris, but didn't become notorious until New York, then Chicago, in November 1910 (where her audience was so scandalized that a third performance was canceled, but played without incident on tour in Milwaukee). She revived Salome in 1921, during her "directa" season, but again a third Chicago performance was canceled, although Milwaukee and 12 other cities welcomed it without incident. By then 47, Garden retired the role, although it remained one she "enjoyed the most" along with Mélisande, Louise, Carmen, Février's Monna Vanna, and two by Massenet -- Thaïs and Le Jongleur de Notre Dame. Massenet was in fact the composer she performed most, also singing Manon, Cléopâtre, Werther's Charlotte, Don Quichotte's Dulcinée, La Navarraise, and finally Sappho. Jongleur was her final Chicago performance, although she returned in 1935 to give master classes, and a lecture tour in 1947. Before retiring to Scotland, she worked in Hollywood as a "technical advisor" on operatic sequences. Garden was brought to the U.S. as a child -- Bridgeport, CT, first, then Chicago where she studied singing until, in 1896, a patron sponsored two years in Paris. When Garden ran out of money, Sybil Sanderson (Massenet's original Thaïs) befriended her. But from 1900 on, Mary Garden became the Maria Callas of her era: none less than James Gibbons Huneker (1860-1921) devoted four chapters of Bedouins to her in 1920, despite his detestation of Debussy's Pelléas!                

[todayclassical]

April 17 in Music History

1568 Birth of composer Christoph Thomas Walliser.

1587 Birth of composer Marco Ivan Lukacic.

1683 Birth of composer Johann David Heinichen in Krüssuln. 

1719 Birth of composer Christian Gottfried Krause.

1724 Birth of Prince Ferdinand Lobkowitz in Prague, patron of Gluck. 1738 Birth of composer Philip Hayes.

1741 Birth of German composer Johann Gottlieb Naumann.  1774 Birth of Czech composer and organist Vaclav Jan Krtitel Tomasek.

1797 Birth of Belgian composer and conductor Jean-Baptiste-Joseph Tolbecque.

1811 Birth of composer Ann Sheppard Mounsey.

1820 Birth of composer Gottfried Conradi.

1833 FP in US of Mozart's opera The Magic Flute performed in English, at the Park Theatre in New York City.

1849 Debut of Louis M. Gottschalk at the Salle Pleyel in Paris.

1874 Birth of Czech baritone-tenor Rudolf Berger in Brünn, Moravia. 

1879 Birth of French soprano Agnès Borgo.

1882 Birth of Austrian pianist Artur Schnabel in Lipnik.

1883 Birth of composer Hermann Darewsky.

1885 Birth of American violinist and composer Cecil Burleigh.

1888 Birth of English soprano Dame Maggie Teyte in Wolverhampton. 

1894 Birth of American compóser Hans Ewald Hiller. 

1894 Birth of American composer and orchestrator Hans Spialek.

1897 Birth of Norwegian composer Harald Saeverud in Bergen.

1900 Birth of Swiss composer Willy Burkhard in Évilard-sur-Bienne, Zurich. 

1903 Birth of Russian composer Nicolas Nabokov near Minsk. 1903 Birth of Russian cellist Gregor Piatigorsky in Ekaterinoslav. 

1906 In San Francisco Italian tenor Enrico Caruso sings in Bizet's Carmen with the Metropolitan Opera company the evening before the major earthquake.

1907 FP of Sir Edward German's Tom Jones a comic opera in London.

1912 Birth of Hungarian soprano Marta Eggerth in Budapest. 

1914 Birth of French soprano Janine MicheauI in Toulouse. 

1918 FP of S. Prokofiev's Piano Sonata No. 4 and Two Sonatinas, Op. 54. The composer was the soloist, in Petrograd.

1923 Birth of Italian tenor Gianni Raimondi in Bologna. 1925 Birth of German bass-baritone Wolfgang Zimmermann in Stuttgart. 

1925 Birth of English contralto Pamela Bowden in Rochdale. 

1927 Birth of Italian soprano Graziella Sciutti in Turin. 

1927 Birth of composer Christopher Whelen.

1940 Birth of German soprano Anja Silja in Berlin. 

1936 Birth of tenor Paul Crook in Blackburn. 

1937 Birth of American electronic music composer Donald Buchla.

1940 Birth of German tenor Siegfried Jerusalem in Oberhausen. 

1941 Birth of composer Adolphus Hailstork.

1942 Death of American mezzo-soprano, soprano, Dreda Aves in Newark, NJ. 

1944 Birth of German baritone Grit Van Jueten in Hamburg.

1950 Birth of Brazilian-English pianist Christina Ortiz in Bahia, Brazil. 

1953 FP of Benjamin's "A Tale of Two Cities" in London.

1959 Death of German soprano Barbara Kemp. 

1963 Death of German tenor Fritz Windgassen. 

1964 FP of Miklos Rozsa's Notturno Ungherese. Philadelphia Orchestra, Eugene Ormandy conducting.

1965 FP of Igor Stravinsky's Variations an Aldous Huxley memoriam and Introitus a T.S. Eliot memoriam. Chicago Symphony conducted by Robert Craft.

1972 Death of Italian soprano Mercedes Fortunati. 

1974 Death of American composer Herbert Elwell at age 75, in Cleveland, OH.  1998 FP of Libby Larsen's Songs of Light and Love with poems of May Sarton. With soprano Benita Valente and the Network for New Music, in Philadelphia.

2000 Death of mezzo-soprano Paula Lindberg. 

2002 Death of Canadian composer and conductor Srul Irving Glick.

2003 FP of Sofia Gubaidulina's The Light of the End. Boston Symphony, Kurt Masur, conducting, in Boston, MA.

[thisdeepdream]

Soprano Maggie Teyte

[cultural-canon-blog]

My latest obsession...

[operadivalover-blog]

 Maggie Teyte ~ La Périchole (1932)

(by CurzonRoad)

[emotionsincascades]

Henri Duparc: L’Invitation au voyage

Mon enfant, ma soeur, Songe à la douceur D’aller là-bas vivre ensemble! Aimer à loisir, Aimer et mourir Au pays qui te ressemble! Les soleils mouillés De ces ciels brouillés Pour mon esprit ont les charmes Si mystérieux De tes traîtres yeux, Brillant à travers leurs larmes.

Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté.

. . . .

Vois sur ces canaux Dormir ces vaisseaux Dont l’humeur est vagabonde; C’est pour assouvir Ton moindre désir Qu’ils viennent du bout du monde. — Les soleils couchants Revêtent les champs, Les canaux, la ville entière, D’hyacinthe et d’or; Le monde s’endort Dans une chaude lumière.

Là, tout n’est qu’ordre et beauté, Luxe, calme et volupté.

Charles Baudelaire, Les Fleurs du mal, 1857