SEARCH RESULTS FOR: Fischer-Dieskau
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1925–2012 German baritone Fischer-Dieskau made his opera debut in Berlin as Posa (Don Carlos) in 1948. The following year he appeared in Vienna and Munich, and in 1952 at Salzburg. He sang at Bayreuth 1954–56, and appeared at Covent Garden in 1965 as Richard Strauss’s Mandryka (Arabella) and in 1967 as Verdi’s Falstaff. He was widely known as a ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

1925–2012, German In great demand as an opera singer and recitalist, Fischer-Dieskau was the most recorded baritone of the twentieth century. His opera work is remembered for roles such as Berg’s Wozzeck, Busoni’s Faust and Reimann’s Lear, for which he gave the first performance. He was not well suited to the Romantic Italian repertoire, but had ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

1886–1960 Swiss pianist Fischer taught in Berlin 1905–14 and succeeded Schnabel at the Hochschule in 1931. He was one of the first modern pianists to direct concerto performances from the keyboard, for which purpose he founded a chamber orchestra in Berlin. After World War II, he appeared in recitals and gave master classes in Lucerne. Introduction | Modern Era ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Yo’-han Kas’-pâr Far’-de-nant Fish’-er) 1656–1746 German composer Fischer, who was Hofkapellmeister at the court of Baden, contributed to the dissemination of Lully’s French orchestral style with his eight suites published as Le journal du printemps (‘Spring Diary’, 1685). These follow the seventeenth-century French practice of five-part string writing, with the addition of two trumpets. Fischer was an imaginative keyboard composer ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

he did himself. Apart from Pears, Britten wrote with deep insight for such singers as the contralto Kathleen Ferrier (1912–53), the soprano Galina Vishnevskaya (1926–2012) and the baritone Dietrich Fischer-Dieskau (1925–2012). This talent was one of the reasons for his quality as an opera composer, enabling him to make vivid character studies of even the minor roles. The Middle ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

singer of Lieder, especially Schubert and Mahler. She retired from singing in 1995, continuing to work as an opera director. Introduction | Contemporary | Classical Personalities | Dietrich Fischer-Dieskau | Contemporary | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

alternative to Schubert’s famous song. A stroke in 1864 seriously affected his work, and he died from another stroke five years later. Recommended Recording: Balladen & Lieder, Dietrich Fischer-Dieskau, Jörg Demus (Deutsche Grammophon) Introduction | Early Romantic | Classical Personalities | Albert Lortzing | Early Romantic | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

our minds, it is hard – far harder than with Mozart – to escape a tragic sense of what might have been. Recommended Recording: Die schöne Müllerin, Dietrich Fischer-Dieskau, Gerald Moore (EMI/Warner) Franz Schubert: Works Over 600 songs, including: ‘Gretchen am Spinnrade’ (1814); ‘Erlkönig’ (1815); ‘Heidenröslein’ (1815); ‘Wanderers Nachtlied I’ (1815); ‘Der Wanderer’ (1816); ‘Ganymed’ (1817); ‘Der ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

Modern-day revivals have included the 2002 Edinburgh Festival, where the production’s critical success renewed widespread interest in this neglected work. Introduction | Modern Era | Opera Personalities | Dietrich Fischer-Dieskau | Modern Era | Opera Houses & Companies | Paris Opéra | High Romantic | Opera ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

larger works, such as the failed comic opera Der Corregidor (‘The Magistrate’, 1896), were less successful than his masterly Lieder. Recommended Recording: Italian Songbook, Irmgard Seefried, Dietrich Fischer-Dieskau, Erik Werba (Orfeo) Introduction | Late Romantic | Classical Personalities | Malcolm Arnold | Modern Era | Classical ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

excel in both skills, none more than Tito Gobbi, whose most noted roles were Falstaff in Verdi’s eponymous opera, and Scarpia in Puccini’s Tosca. By contrast, Fischer-Dieskau was at home in Wagner and Strauss, while in Verdi he was thought stern and unsmiling. If Gobbi and Fischer-Dieskau are the most celebrated baritones of the last half-century ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

‘The Abduction from the Seraglio’ Premiered on 16 July 1782, Die Entführung aus dem Serail quickly became his most popular work and sealed the composer’s operatic reputation in German-speaking lands. The Viennese expected plenty of laughs from a Singspiel. Mozart obliged with his first great comic creation: the ‘foolish, coarse and spiteful’ (Mozart’s words) harem overseer Osmin, a larger-than-life ...

Source: Definitive Opera Encyclopedia, founding editor Stanley Sadie

b. 1931 Austrian pianist Austrian-born Brendel studied in Zagreb and Graz and later attended classes with Edwin Fischer. He made his debut in Graz in 1948 and became well known in the 1950s through his many recordings. He is widely admired for his performances of the sonatas of Beethoven and Schubert. Introduction | Contemporary | Classical Personalities | Christophe Coin | ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Ärk-an’-jel-o Ko-rel’-le) 1653–1713 Italian composer and violinist Corelli studied in Bologna, but by the mid-1670s was living in Rome, where he acquired a reputation as one of the city’s foremost violinists. His first patron in Rome was the exiled Queen Christina of Sweden, to whom he dedicated his earliest printed collection, 12 trio sonatas op. 1 (1681). Next ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie

(Ba’-la Bar’-tok) 1881–1945 Hungarian composer and pianist Bartók’s earliest works were influenced by Johannes Brahms (1833–97), by Hungary’s famous Liszt and by Richard Strauss, then regarded as the last word in modernism. Bartók’s personal style, though, was formed by his discovery of Debussy and of Hungarian folk music. The strongly rhythmic, percussive, sharply dissonant music that ...

Source: Classical Music Encyclopedia, founding editor Stanley Sadie
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