Giovanni Simone Mayr, Newell Jenkins, The Clarion Concerts Orchestra And Chorus - Medea In Corinto (Medea In Corinth) flac album
|A2||Act 1, Nos 1, 2||13:11|
|B||Act 1, Nos 3, 4, 5, 6||27:16|
|C||Act 1 Nos 7, 8, 9, 10, 11 Through Quintet "Ah! Se Manco A Te Di Fede"||27:36|
|D1||Act 1 No.II Continued To End Of Act||4:06|
|D2||Act Nos 1, 2, 3||19:32|
|E||Act II Nos 4, 5, 6||21:02|
|F||Act II No 7 Through To End Of Opera||25:35|
- Copyright (c) – Vanguard Recording Society, Inc.
- Baritone Vocals [Creonte] – Thomas Palmer
- Composed By – Giovanni Simone Mayr*
- Conductor, Editor [Collaborator] – Newell Jenkins
- Editor – Heinrich Bauer
- Ensemble – The Clarion Concerts Orchestra And Chorus
- Painting [Uncredited] – Eugène Delacroix
- Producer – Seymour Solomon
- Sleeve Notes – Herbert Weinstock
- Soprano Vocals [Cresua] – Joan Patenaude
- Soprano Vocals [Ismene] – Molly Stark
- Soprano Vocals [Medea] – Marisa Galvany*
- Tenor Vocals [Egeo (Aegeus)] – Robert White
- Tenor Vocals [Glasone (Jason)] – Allen Cathcart
NotesFull Stereo - Also Playable in Mono
A Dolby System Recording
Medea in Corinto (Medea in Corinth) is an 1813 opera in Italian by the composer Simon Mayr. It takes the form of a melodramma tragico in two acts. The libretto, by Felice Romani, is based on the Greek myth of Medea and the plays on the theme by Euripides and Pierre Corneille. The same subject had formed the basis for Luigi Cherubini's famous opera Médée (1797) which may have had an influence on Mayr's work
Composed By – Giovanni Simone Mayr. Ensemble – The Clarion Concerts Orchestra And Chorus. Painting – Eugène Delacroix. Producer – Seymour Solomon.
Giovanni Simone Mayr, Newell Jenkins, The Clarion Concerts Orchestra And Chorus - Medea In Corinto (Medea In Corinth) (LP). Agostino Steffani, Giovanni Rovetta, Clarion Opera Group, Orchestra Del Teatro Accademico Di Castelfranco Veneto, Newell Jenkins - Musiche Venete Del XVII E XVIII Secolo (LP, Gat). Giovanni Simone Mayr - Elizabeth Vidal, Daniela Barcellona, Antonino Siragusa, Orchestra & Chorus of the Teatro Lirico 'Giuseppe Verdi' Trieste, Tiziano Severini - Ginevra Di Scozia (3xCD, Album + Box).
php?title Medea in Corinto (Mayr, Giovanni Simone)&oldid 1887699. Категории: Scores published by Birchall.
Medea in Corinto, opera Work. Michael Vogel Chorus Master, Elzbieta Szmytka Vocals, Lawrence Brownlee Vocals, Wojciech Adalbert Gierlach Vocals, St. Gallen Theater Choir Chorus/Choir, St. Gallen Opera Chorus Chorus/Choir, Evelyn Pollock Vocals, Symphony Orchestra St. Gallen Orchestra, David Stern Conductor, Andrés De Castillo Vocals, Fiqerete Ymeraj Vocals, Mark Milhofer Vocals, Carlos Petruzziello Vocals. back to top ^. Similar Albums. Mayr: Medea in Corinto. Orchestra Internazionale d'Italia.
Mayr - Medea in Corinto, Eaglen · Kenny · Ford · Giménez · Miles · Mason · Nilon · Archer · PO · Parry. It isn't the performers that failed, nor the orchestra, there was just something about the way the recording masters record big voices, and we are all the losers in some way. Perhaps they should do with Eaglen like they do with Dimitrova - have her stand behind the orchestra (while all the other singers are in front of it) which puts her far enough away from the microphones you get the real theatrical focus of the voice, as her voice is powerful enough to drown out everything and everyone. The conductor is Newell Jenkins.
Medea in Corinto (Medea in Corinth, 1813 and much revised over the course of the next ten years) was Mayr’s best-known opera and remained a repertory staple for a time even after his death. It has been revived frequently in our own day, especially in Italy, where audiences can of course follow the plot and shifting emotions without recourse to supertitles. Mayr’s opera tells basically the same story that opera lovers know from Cherubini’s Médée (a work often performed in a much-altered later version and in Italian, under the title Medea)
The contrast is interesting, though heard straight through adding the repetition to the opera itself gives one rather a lot of Mayr! William Johns as Jason and Gianfranco Pastine bring out their material ably, though with far less dramatic force than Gencer. The conductor, Maurizio Arena, seems to make the most of the score. The recording is of a live performance in Naples in 1977, and has many of the acoustic and extraneous-noise problems common to such recordings, including the principals moving in and out of the optimum locations for the microphones.
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