Para abrir el video de sus artistas preferidos, con el "mouse" haga un CLICK sobre el NOMBRE DE LA CANCION; en algunas páginas un CLICK sobre el NOMBRE DEL ARTISTA lo enlaza con un tema musical. El orden de los Archivos está de acuerdo a las fechas de ingreso; por favor revise las páginas de los MESES ANTERIORES, encontrará grandes actuaciones de orquestas, grupos y vocalistas de ayer y de hoy: OPERA, MUSICALES, JAZZ, CLASSIC OLDIES, CLASSIC ROCK & POP - All Easy Listening Songs - Deseamos que pase muy gratos momentos en compañia de la mejor música. Un afectuoso abrazo.
"Diana Krall was groomed for a career in music from a young age. With her powerhouse vocals and fast fingers on the keyboard, Krall quickly rose to fame as the blonde bombshell of jazz. She even married British rocker Elvis Costello at the home of music icon Sir Elton John. Her strong, smokey voice has earned her two Grammy Awards and six nominations throughout her career.." - SonomaNews - CA.
Beyonce............. "Fever" -R&B,Pop- Eddie Cooley and Otis Blackwell,1956 Connie Talbot.... "Smile" - Pop - music by Charlie Chaplin, lyrics J.Turner ,G.Parsons,1936 Rod Stewart......."What a Wonderful World"-Pop - Bob Thiele and George D.Weiss,1967 DianaKrall........ "The Look Of Love"- Pop - Burt Bacharach - 1967
Eliane Elias....... "Call me"- Pop - Tony Hatch,1965 Sugababes............ "For Once in My Life"- Jazz,Pop - Ron Miller and Orlando Murden,1967
"Harry Connick, Jr. cantante y pianista estadounidense. Su repertorio y estilo se aproxima al jazz por la vía del swing y de la canción popular estadounidense. Se trata de un moderno crooner, dentro de la estela generada por la influyente generación de Frank Sinatra. La carrera de Connick comenzó con dos discos de clara orientación jazzística (aunque desde un punto de vista muy tradicional), para luego centrarse en un estilo más pop como moderno crooner" - from Wikipedia
JaneMonheit..... "I Won't Dance"- Jazz,Pop - Jerome Kern, D. Fields and J.McHugh,1934 Jamie Cullum.... " Mrs. Robinson"- Pop - Paul Simon,1968 JoshGroban...... "Vincent"- Ballad - Don McLean,1971 KurtElling......... "Nature Boy"- Jazz - Eden Ahbez, 1940s, published 1947 Laura Fygi......... "Dream a Little Dream" - Jazz - Fabian Andre and W.Schwandt,1930
"When you listen to Laura Fygi singing, you are struck by her fine intonation, her excellent phrasing, her relaxed sense of swing, her clear diction, mellow voice and her sophisticated choice of repertoire. But what impresses most of all is the abundant joy she clearly derives from performing - a joy which she unfailingly communicates to her audience. Listen to her Verve album, Live at Ronnie Scott's, recorded in March 2002, which features such imperishable standards from the Great American Songbook as Lady Day's "Good Morning Heartache," Sammy Fain's "That Old Feeling," Cole Porter's "Just One Of Those Things" and Hoagy Carmichael's "The Nearness Of You" and note how she breathes new, vibrant life into these immortal classics" - Mike Hennessey
"Sophie Milman is a Russian born jazz vocalist who currently lives in Canada. After emigrating from Russia in the early 1990s, Milman, who is of Jewish heritage, spent most of her childhood years in Israel where she listened extensively to jazz. Her self-titled debut album was released on October 12, 2004 in Canada"-
"Not charts, not sheet music: instead, Toronto's youngest vocal jazz sensation is curled up with a good, text-heavy, hardcover book. It's an accurate depiction of 22-year-old Milman, who for the last two-and-a-half years has been studying commerce full time at the University of Toronto while nicely making way, in her spare time, in the uncertain waters of the jazz world. Her album hit the Canadian Top Ten early this year; she's booked at jazz festivals throughout Canada this summer, and she is one of the nominees for the first annual Canadian Smooth Jazz Awards, to be presented April 10, competing against the likes of jazz star Diana Krall in the category of Best Female Vocalist". - Aliyah Baruchin
Rod Stewart............ "The Way You Look Tonight" - Jerome Kern, D.Fields,1936 Susan Wong............ "Beyond the Sea" - Pop - Jack Lawrence and Charles Trenet,1959 The Pussycat Dolls.. "Sway" Mambo - Pablo Beltrán Ruiz,1953
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 ).
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 granLuciano 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 ofmid-show standing ovation and an encoreduring 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. . .
