Los Nuevos Artistas I - Clásicos de Ayer y del Futuro

Juan Diego Flórez & Mary Dunleavy; Sonnambula; Bilbao 2005























CANTANTES LIRICOS
ANGELA GHEORGHIU "Habanera"

ANNA NETREBKO "Il Bacio"

CARMEN MONARCHA "O Mio Babbino Caro"

CECILIA BARTOLI "Non Piu Mesta"

FRANCISCO ARAIZA "Si, Ritrovarla, Io Giuro"

JUAN DIEGO FLOREZ "Una Furtiva Lágrima"

JULIA GERTSEVA "Al Suon del Tamburo"

LAURA GIORDANO "L'elisir Contest"

MARCELO ALVAREZ "M'appari"

MARIA BAYO "Una Voce Poco Fa"

NUCCIA FOCILE "Parigi, o Cara"

RENEE FLEMING "Un Bel Di Vedremo"

ROBERTO ALAGNA "Au Fond du Temple Saint" ,Bryn Terfel

ROLANDO VILLAZON "Dein Ist Mein Ganzes Herz" ,A.Netrebko,P.Domingo

SARAH BRIGHTMAN "Time to Say Goodbye" ,Andrea Bocelli


Renee Fleming

Rolando Villazón & Anna Netrebko

Carmen Monarcha & Andre Rieu; cantando "Meine Lippen Sie Kussen So Heiss"; Tour Europa 2003. - video

MUSICA CLASICA & JAZZ

ANDRE RIEU & JOHANN STRAUSS ORCHESTRA "The Second Waltz"

CHRIS BOTTI "My Funny Valentine"

KENNY G Kenny G - "Misty" ft. Gladys Knight

THE GLENN MILLER ORCHESTRA "Moonlight Serenade"
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THE STOLEN SWEETS at Think SWING! 2007 ( live )

WYNTON MARSALIS & THE LINCOLN CENTER JAZZ ORCHESTRA -

Warsaw 1994 - a

Warsaw 1994 - b

Warsaw 1994 - c

Warsaw 1994 - d

Warsaw 1994 - e

MARSALIS ON MUSIC - Atención músicos y aficionados ! un obsequio de W.Marsalis

Music Orchestra. - Music Orquestra 2 - Music Orquestra 3 - Music Orchestra 4 - Music Orchestra 5 - Music Orquestra 6 - Music Orquestra 7 - Music Orquestra 8

Wynton Marsalis; acompañado de su padre el famoso pianista de los años de oro del jazz, Ellis Marsalis; 1983

Wynton Marsalis, Artistic DirectorWynton Marsalis is the Artistic Director of Jazz at Lincoln Center. Born in New Orleans, Louisiana in 1961, Mr. Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Mr. Marsalis made his recording debut as a leader in 1982, and since he has recorded more than 30 jazz and classical recordings, which have won him nine Grammy Awards. In 1983, he became the first and only artist to win both classical and jazz Grammys in the same year and repeated this feat in 1984. ( jazz at Lincoln Center ).

VOCALISTAS JAZZ & OLDIES SONGS

AMY WINEHOUSE "Me and Mr. Jones" "Rehab"


BERNADETTE PETERS "The Way You Look Tonight"


CHARLOTTE CHURCH "Imagine" "The Prayer" , Josh Groban


CONNIE TALBOT "What a Wonderful World"


CORINNE BAILEY RAE "Put your records on"


DAVIS & DOW "Great Jazz Divas"


DEE DEE BRIDGEWATER "Into my Soul"


DIANA KRALL "The Look of Love"

Eliane Elias

ELIANE ELIAS "Call Me"

HARRY CONNICK "I Had To be You"

JAMIE CULLUM "What A Difference A Day Made"

JANE MONHEIT "I Won't Dance" "I Should Care"

JOHN PIZZARELI "They Can't Take That Away From Me" , Jane Monheit

JOSH GROBAN "Vincent"

JOSS STONE "Son of a Preacher Man"

KATIE MELUA "Moon River" "Love Cats"

LAURA FYGI "Dream a Little Dream" "Girl Talk" "For me,Formidable"

LUCIANA SOUZA "I Can Let Go Now"

MADELEINE PEYROUX "Don't Cry Baby"

MATT DUSK "A Million Kisses Late" "The way you look Tonight"

MICHAEL BUBLE "Sway"

NORAH JONES "Don't Know Why"

RUTHIE HENSHALL "Roxie Hart" "Sooner or Later"

SANDRA REEMER "I´ll Never Love this Way Again"

SARAH BLASKO "Goodbye Yellow Brick Road"

SOPHIE MILMAN "My Heart Belongs To Daddy" "Ochi Chornye"

SUSAN WONG "Someone Like You" - Album

Davis & Dow; Julie Davis & Kelly Dow; 2005

Diana Krall

Michael Buble

Harry Connick Jr.

MAS ELOGIOS PARA JUAN DIEGO FLOREZ

Jueves, 05 de junio de 2008
Juan Diego Flórez se transforma en mito en el Metropolitan de Nueva York
Autor: Juan Antonio González Fuentes

El joven tenor peruano Juan Diego Flórez está dando pasos agigantados hacia la categoría de mito. Su última hazaña ha sido bisar la célebre aria de los nueves dos de la ópera de Donizetti “La fille du régiment”. Ocurrió en el Metropolitan, y le valió al tenor la portada de The New York Times

En más de una ocasión ya hemos hablado en estas mismas páginas electrónicas del auténtico fenómeno actual en el mundo de la ópera y más significativamente en el del bel canto. Me refiero al joven tenor peruano Juan Diego Flórez (Lima, 1973), sin duda ninguna el mejor representante en la actualidad del canto belcantista dentro, claro, de su cuerda tenoril.
Juan Diego Flórez, construyendo hasta ahora con paso serio y firme una carrera de coherencia pasmosa, va alcanzando metas, sobrepasando dificultades, rompiendo barreras y alcanzando hitos hasta ahora sólo al alcance de los más grandes, de los indiscutibles.
“La última” del tenor peruano es un hito más que lo eleva al rango de mito incipiente mucho más allá de moda pasajera y cíclica. Ocurrió hace unas semanas en uno de los coliseos operísticos por excelencia, el Metropolitan de Nueva York.

Cantaba Flórez el papel protagonista de una de la óperas más representadas de Gaetano Donizetti, La fille du régiment, obra que generalmente se canta en su versión en francés. Esta ópera cómica tiene uno de los momentos cumbres por su belleza, gracia y dificultad extrema de toda la escritura belcantista para tenor, la celebérrima aria de los nueve “dos” que comienza ¡Ah mes amis...! Es esta, insito, un aria de dificultad extrema en la que el tenor debe evidenciar agilidades vocales de carácter casi circense, y a la vez gusto, elegancia e intención refinada y sutil en lo que está diciendo. Vamos, una prueba de fuego en la que lo más normal es pasar casi de puntillas para no abrasarse y dejarse las cuerdas vocales como torreznos chamuscados.

Pues bien, Juan Diego Flórez, dada su inmensa calidad vocal, su dominio portentoso del estilo, su técnica depurada, y su más que notable expresividad como cantante-actor, no sólo ha hecho de este aria una de sus más brillantes y demandadas cartas de presentación, es que además, prueba homérica de sus facultades, la bisa de forma no muy infrecuente.

Esto es lo que ocurrió en el Metropolitan neoyorkino ante un público entre enfervorizado y pasmado, ante un público con la boca abierta que no sabía muy bien si entregarse al ensimismamiento o a la locura definitiva y absoluta. Juan Diego Flórez cantó el aria de los nueve dos, y ante el delirio de los asistentes, sencillamente repitió la faena, marcándose los consabidos, inauditos y sobrecogedores dieciocho dos. El último en escalar este Everest vocal había sido el gran Luciano Pavarotti en una mítica y recordada velada de hace casi tres lustros, 1994. Los dos, Pavarotti y Juan Diego Flórez, tras sus respectivas hazañas, salieron por la puerta grande que sólo se abre en contadísimas ocasiones. Una puerta grande que en la ciudad de los rascacielos consiste en ocupar la portada del día siguiente de uno de los periódicos más famosos, leídos y respetados de todo el globo terráqueo: la portada de The New York Times.

Pavarotti milestones: with australian soprano Joan Sutherland in the Met's 1972 La Fille du Régiment, which established him as the "King of the High Cs". In 1966 he sang with Joan Sutherland and Spiro Malas in in Donizetti's La Fille du Regiment.

Juan Diego Flórez & Natalie Dessay; Metropolitan, New York, May 2008 It's always a delightful journey when tenor Juan Diego Florez and soprano Natalie Dessay sail over the High C's in La Fille du Régiment.

April 22, 2008
La Fille du Regiment
Autor. Howard Kissel - The Cultural Tourist.

Wherever you were in New York last night, if you heard what sounded like an explosion at about ten past nine, it emanated from the Metropolitan Opera House, where tenor Juan Diego Florez had just finished singing the aria “Pour mon ame,” with its nine high C’s (augmented by a short reprise with three more, all of them firm and glittering.)Having a tenor who can sing “Pour mon ame” is one of the reasons opera companies produce Donizetti’s “The Daughter of the Regiment,” but the Metropolitan had many more. Just after the applause died down, French soprano Natalie Dessay, who sang the title role, appeared at the back of the stage dragging a line of clothes, which she removed one by one from the rope as she sang the plaintive “Il faut partir.” She managed to capture the poignancy of the aria without losing the sense of irony, a balance as difficult in its own way as hitting all those C’s. . .

Equally important, Dessay and Florez have true chemistry, which makes their onstage romance genuinely touching. It's not always possible for opera singers to have the physical properties to make the emotions of the music believable rather than just pleasing to the ear. This is one of those occasions, and it adds immensely to the power of the piece.


May 1, 2008
Juan Diego Florez In La Fille Du Regiment - Interview
The Place to Be if You Like Hearing High C's
By Heidi Waleson - Wall Street Journal Review - Universal Musical Classic

. . . The duo of Juan Diego Flórez as Tonio and Natalie Dessay as Marie. But first, the news. The money moment in "Fille" is the tenor's aria, "Ah, mes amis," in which he has to sing nine high Cs in rapid succession. It was Luciano Pavarotti's calling card at the Met in 1972, and Mr. Flórez has been bringing down the house with it for some time. Indeed, audiences often demand that he repeat the section with the high C's; this occurred most recently at La Scala in Milan, which usually prohibits encores. So it was no surprise when Mr. Flórez gave the rapturous Met audience a reprise. The applause -- and the encore -- were certainly warranted.

This young Peruvian singer has an elegant, high-lying tenor, perfect for bel canto, and those exciting, crystalline high Cs -- all 18 of them -- felt like part of a seamless line, rather than hard work.If Mr. Flórez was the flaming Baked Alaska of the show. . .

April 26, 2008
Posted by Philly Markowitz - Smooth Sailing

Tonio’s aria “Ah! Mes amis!” contains nine high C’s and is commonly called the Mount Everest of bel canto tenor singing. It was this aria that launched Pavarotti to international success on February 17, 1972 at The Metropolitan Opera. His effortless high C’s earned him 17 curtain calls that night. In 2007, Juan Diego Flórez brought the house down with the same aria at La Scala. He was given the first encore at La Scala in 74 years.
On this past Monday evening, Florez's performance had The Met buzzing with excitement, and included the very rare appearance of mid-show standing ovation and an encore during the production - which made for 18 high Cs in all!
However, the show is called La FILLE du Régiment for a reason - the story is about the young and spirited Marie. Marie's role is just as demanding as Tonio's, making the opera a feast for anyone who loves brilliant singing. Their respective high notes translate to the upper stratosphere for most singers. . .

"Pour Mon Ame" Diego Flórez , entrevista.