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» » Iolanta and Bluebeard’s Castle - Opera on 3 From the Met Tchaikovsky Bartok 320kbps .mp3
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Iolanta and Bluebeard's Castle (New York Met, 320kbps .mp3)
  • About this torrent.txt (4.7 KB)
  • Commentary
    • Bartok - Bluebeard's Castle - Introductory commentary.mp3 (43.5 KB)
    • Iolanta and Bluebeard's Castle - General introduction.mp3 (3.7 MB)
    • Iolanta and Bluebeard's Castle - Interval commentary.mp3 (9.5 MB)
  • If this torrent is dead.txt (0.1 KB)
  • Opera
    • Bartok - Bluebeard's Castle.mp3 (143.6 MB)
    • Tchaikovsky - Iolonata.mp3 (216.1 MB)
  • Torrent Downloaded From .to.txt (0.0 KB)
  • [TGx]Downloaded from torrentgalaxy.org .txt (0.6 KB)
  • Iolanta and Bluebeard's Castle (New York Met, 320kbps. mp3) (37. 6 MB). About this torrent. Tonight's opera from the Met is a double bill of Tchaikovsky and Bartok one act operas.

    Iolanta and Bluebeard's Castle (New York Met, 320kbps. 4. 9 KB. Iolanta and Bluebeard's Castle - General introduction. Soprano Sonya Yoncheva sings Iolanta, a blind princess hidden away by her father who's determined that she should never find out about her blindness. She has been promised to Robert, but it's his friend the dashing knight Vaudémont who falls for her. Bartok - Bluebeard's Castle. 14. MB. Tchaikovsky - Iolonata. 6 MB. If this torrent is dead. 21. 1 MB. Torrent Downloaded From 1337x. 0 B. Downloaded from torrentgalaxy.

    a list of 204 titles created 6 months ago. Opera Performances. Duke Bluebeard's Castle's set design is as grim and ominous as the story itself and it added hugely to the suspense the opera has. The lighting is both haunting and beautiful and the costumes suit every character and performer aptly, especially Nadja Michael's Judith and Anna Netrebko's Iolanta.

    Nadja Michael and Mikhail Petrenko are Judith and Bluebeard in Bartók’s gripping psychological thriller about a woman discovering her new husband’s murderous past.

    Learn more about on demand. Iolanta/Bluebeard's Castle. Valery Gergiev conducts Mariusz Trelinski’s thrilling new production of these rarely heard one-act operas. Nadja Michael and Mikhail Petrenko are Judith and Bluebeard in Bartók’s gripping psychological thriller about a woman discovering her new husband’s murderous past.

    The Bluebeard's Castle. Download MP3. The Bluebeard's Castle. 1 2 3 4 5. Artist songs.

    Iolanta (Tchaikovsky) and Bluebeard’s Castle (Bartok) - Opera on 3 From the Met (320kbps mp3) Posted by ElsonRoa in Music MP3. 373 MB. ElsonRoa. 1. 0. Verdi - La Traviata (Live from The Met) Posted by ElsonRoa in Music Radio.

    Mikhail Petrenko (Bass) : Bluebeard (Bluebeard's Castle). Mariusz Treliński (Stage Direction). Iolanta, one-act opera by Piotr I. Tchaikovsky (1840 - 1893) Libretto by Modest I. Tchaikovsky after Henrik Hertz's 'The Daughter of King Rene' First performance in St. Petersburg, Mariinsky Theater, December 18, 1892. Bluebeard's Castle, opera in one act by Béla Bartók (1881 - 1945) Livret de Béla Balazs after a tale by Charles Perrault Premiered in Budapest, Opera, May 24, 1918.

    In the triumphant choral finale of Tchaikovsky’s Iolanta, the title princess’s fears are . Soprano SONYA YONCHEVA and tenor Matthew Polenzani star in the fairy-tale one-act opera, paired in a double bill with Bartók’s Bluebeard’s Castle, on stage through Feb 14. Tickets: bi. y/2MqDe2i.

    In the triumphant choral finale of Tchaikovsky’s Iolanta, the title princess’s fears are banished and the court rejoices as she weds the dashing knight.

    Iolanta/Bluebeard& Castle Tchaikovsky/Bartók Alméric arrives at Iolanta’s dwelling, announcing a visit from the King and a famous Moorish physician

    Iolanta/Bluebeard& Castle Tchaikovsky/Bartók. Alméric arrives at Iolanta’s dwelling, announcing a visit from the King and a famous Moorish physician. The doctor’s diagnosis is clear: Iolanta must be told of her disability before treatment can begin.

    Bluebeard's Castle (Hungarian: A kékszakállú herceg vára; literally: The Blue-Bearded Duke's Castle) is a one-act expressionist opera by Hungarian composer Béla Bartók. The libretto was written by Béla Balázs, a poet and friend of the composer, and is written in Hungarian, based on the French literary tale La Barbe bleue by Charles Perrault

    Iolanta and Bluebeard’s Castle - Opera on 3 From the Met (320kbps .mp3)
    Tonight's opera from the Met is a double bill of Tchaikovsky and Bartok one act operas. Soprano Sonya Yoncheva sings Iolanta, a blind princess hidden away by her father who's determined that she should never find out about her blindness. She has been promised to Robert, but it's his friend the dashing knight Vaudémont who falls for her. Then to a less fortunate wife, as Angela Denoke sings Judith who learns some unpleasant truths about her new husband behind the castle doors.
    Presented from New York by Mary Jo Heath and Ira Siff.
    Iolanta:
    Iolanta.....Sonya Yoncheva (Soprano)
    Count Vaudemont.....Matthew Polenzani (Tenor)
    Robert.....Alexey Markov (Baritone)
    Ibn- Hakla.....Elchin Azizov (Baritone)
    Rene.....Vitalij Kowaljow (Bass)
    Almeric.....Mark Schowalter (Tenor)
    Bertrand.....Harold Wilson (Bass)
    Marta.....Larissa Diadkova (Mezzo-soprano)
    Brigitta.....Ashley Emerson (Soprano)
    Laura.....Megan Marino (Mezzo-soprano)
    New York Metropolitan Opera Orchestra
    New York Metropolitan Opera Chorus
    Henrik Nánási (conductor)
    Bluebeard's Castle:
    Judith.....Angela Denoke (Soprano)
    Bluebeard.....Gerald Finley (Bass)
    New York Metropolitan Opera Orchestra
    New York Metropolitan Opera Chorus
    Henrik Nánási (conductor)
    Broadcast: BBC Radio 3, 9 February 2019
    Synopsis
    IOLANTA
    Iolanta is blind. She lives a secluded life and is treated like a doll. A long time ago her father, King René, hid her from the world and placed her in the care of simple people, Martha and Bertrand. His greatest concern is for his daughter never to find out she is blind. He also doesn’t want the news of Iolanta’s blindness to reach Robert, her future husband. Iolanta is convinced that eyes are only for crying. But she is becoming anxious and has some vague presentiments.
    Alméric arrives at Iolanta’s dwelling, announcing a visit from the King and a famous Moorish physician. The doctor’s diagnosis is clear: Iolanta must be told of her disability before treatment can begin. René says no.
    Robert and Vaudémont appear at Iolanta’s house. They are overawed—the place seems to hide a secret, danger, they feel threatened. They meet Iolanta, not knowing who she is. Robert doesn’t realize she is his betrothed, whom he doesn’t want to marry because he loves someone else. Vaudémont is enchanted with the girl while Robert is worried by this mysterious place. Enthralled with Iolanta’s beauty, Vaudémont asks her to give him a red rose as a keepsake. Iolanta hands him a white one, twice. Vaudémont realizes that she can’t see. Iolanta has no idea what it means to see, she isn’t aware what she is missing. King René catches Vaudémont talking to Iolanta and is furious with him for revealing the secret to her. With no will of her own, Iolanta doesn’t even know whether she wants to be able to see—she will do anything her father tells her. This only confirms the doctor’s words that without an inner desire, no change is possible. To awaken her desire to regain her sight, the King threatens that if the treatment fails Vaudémont will be killed. Iolanta is healed and her father consents to her marriage to Vaudémont. But regaining her sight doesn’t bring Iolanta the expected deliverance. Blinded by the world, she can’t believe that the people she loves look the way they do. Her love for Vaudémont and the wedding ceremony subdue her fears.
    BLUEBEARD'S CASTLE
    Judith has come to live with Bluebeard, having left her family home and her peaceful, ordered existence. Bluebeard’s secret mesmerizes her—she knows the terrifying rumors, she fears she may be on a road of no return, yet she decides to enter his home. The door closes. Judith confesses her love for Bluebeard, believing that it will change him and light up his gloomy home. She repeats her profession of love like a mantra as she demands that the doors to seven rooms be opened. The first one is a torture chamber, the second an armory. These rooms fill her with terror. The next doors conceal a treasury and a garden. Then Bluebeard shows his empire to Judith. She sees blood everywhere: on jewels, weapons, flowers. She doesn’t want to defer to Bluebeard who says, “Love me” and “Ask no questions.” Judith responds that she loves him and wants him to open up to her, reveal his inner self, uncover his fears. She demands that all the doors be opened. The sixth door, which conceals a sea of tears, is where Judith reaches the limit of knowledge. That leaves the seventh door. Behind it is a space beyond life, on the border of life and death. There are concealed Bluebeard’s previous wives. Passing through the seventh door, Judith joins them. She is made a part of Bluebeard’s space forever. The circle of her journey closes.

Comments:
Cordantrius
Cordantrius
Opera from the Met! Wow, thanks for this.
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