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  1. Como Susanna participó en la antológica versión de Las bodas de Fígaro en París dirigida por Giorgio Strehler y Georg Solti junto a Gundula Janowitz, Frederica von Stade y José van Dam y luego en la grabación comercial con Kiri Te Kanawa, Frederica von Stade, Thomas Allen y Samuel Ramey, también dirigida por Solti.

  2. Ariadne auf Naxos (2 e version), avec Leontyne Price, Edita Gruberova, Tatiana Troyanos, René Kollo, London Philharmonic Orchestra, Georg Solti (dir.) - Decca, 1979. Ariadne auf Naxos ( 2 e version), avec Jessye Norman , Tatiana Troyanos , Kathleen Battle , James King , Dawn Upshaw , Barbara Bonney , Orchestre du Metropolitan Opera de New York , James Levine (dir.) - Deutsche Grammophon, DVD ...

  3. Birgit Nilsson a laissé une discographie très abondante, dont plusieurs versions du Ring de Richard Wagner, enregistrées à Bayreuth ou en studio à Vienne avec Georg Solti [8], Elektra et Salomé de Richard Strauss (avec le même Solti), plusieurs versions de Tristan et Isolde (notamment à Bayreuth, avec Karl Böhm [9]), ou encore de Turandot de Giacomo Puccini.

  4. Plácido Domingo has made hundreds of opera performances, music albums, and concert recordings throughout his career as an operatic tenor.From his first operatic leading role as Alfredo in La traviata in 1961, his major debuts continued in swift succession: Tosca at the Hamburg State Opera and Don Carlos at the Vienna State Opera in 1967; Adriana Lecouvreur at the Metropolitan Opera, Turandot ...

  5. 1978: Sir Georg Solti and the Vienna Philharmonic made a studio recording for Decca Records with Lucia Popp as Gretel and Brigitte Fassbaender as Hansel. This recording also featured Walter Berry as the Father and the Vienna Boys' Choir as the gingerbread children. 1979: John Pritchard conducted the Gürzenich Orchestra Cologne for CBS Masterworks

  6. 20/05/2022 · Discover our selection of the best Wagner works featuring 10 masterpieces including ‘The Ring Cycle’ and 'Tristan Und Isolde'.

  7. "People sometimes complain that Wagner operas are too long, that they get stiff and sore about 10.30 because they have rushed in to hear one of his works straight from work and are not properly prepared for listening to his music. The audience, as much as the artists, must be prepared for a performance." (Benjamin Britten to Alan Blyth, Gramophone)