Search MusicWeb Here. You can also use this FreeFind but it is not so comprehensive. International mailing. Renate Eggbrecht has recorded all 3 violin Sonatas. Bruno Monteiro violin.
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Search MusicWeb Here. You can also use this FreeFind but it is not so comprehensive. International mailing. Renate Eggbrecht has recorded all 3 violin Sonatas. Bruno Monteiro violin. Recordings of the Month.
Beethoven Piano Concertos. Stradal Transcriptions. Scarlatti Sonatas Vol 2. Feinberg Piano Sonatas. Schoenberg Violin Concerto. Early Keyboard. Donate and keep us afloat. Nimbus Podcast. Follow us on Twitter. Renate Eggbrecht has recorded all 3 violin Sonatas Bruno Monteiro violin. Tauber had a contract with the Berlin State Opera, which required him to be in Stockholm at the time of the Vienna premiere.
It was not until January that he sang the role for the first time in Berlin. However the Berlin impresario was at first reluctant to mount Paganini at all since it received such a cool reception in Vienna. In the event it turned out that the Berlin production was a great success and ran for three months. She is probably best remembered for her collaboration with Tauber.
The play opens with a group of villagers standing in front of the tavern listening to Paganini playing inside. Henry Raudales plays exquisitely with pinpoint double-stops. Then the story begins to unfold. Anna Elisa has her entrance song, backed up by the chorus of villagers and then hears the violin playing and wonders who it is.
Paganini appears and sings a song in praise of his native land, Bella Italia. In a duet Paganini tells the princess about his love of his instrument. Another love story sails up. Now we are beginning to see a true operetta story. This second couple also sings a duet, a charming waltz, and then we reach the first act finale, almost a quarter-of-an-hour long.
Here Paganini learns who the charming lady is and he falls in love with her, as she had already done with him. When the second act begins six months have passed and Paganini has been appointed maestro di capella of the court in Lucca, where the Prince and Princess reign — and Bella is the prima donna.
He is sad because he has lost everything he owns to Pimpinelli in a game of cards, yes, everything; worst of all: even his violin. Pimpinelli promises to give it back if Paganini tells him how he charms the women. I have a better suggestion: get the recording and find out yourself.
It is also very well sung. Kristiane Kaiser, after a good but slightly hesitant start, only gets better and better. She is in the Anneliese Rothenberger class, which is praise indeed. Zoran Todorovich, who has taken part in several earlier operetta recordings for CPO, is here at his most charming and brilliant. He has gradually taken on more dramatic roles over the last few years — singing Lohengrin and Otello among other things.
His voice has darkened but he has retained the schmaltz in the tone. He sings some truly wonderful pianissimo phrases, worthy of a Nicolai Gedda. Ulf Schirmer is a masterly operetta conductor and his choral and orchestral forces are also well versed in the idiom. The operetta was recorded live at a concert and there is some applause. Otherwise there is little that reveals there is an audience present. A couple of hang-ups though: there is no libretto enclosed, only a summary synopsis.
The spoken dialogue is very clearly recorded but for those with no German or who are less than fluent a libretto with translations would have been welcome.
Then, less seriously perhaps, several timings have been mixed up in the track-list. The old Electrola recording with Nicolai Gedda and Anneliese Rothenberger has recently been reissued for the umpteenth time and it will probably never be completely surpassed, but a cast of Kristiane Kaiser, Zoran Todorovich and the rest is a serious challenger. It should be considered by all operetta enthusiasts.
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Composer: Lehar, Franz - It is also one of the many biographical operettas that were popular in the first part of the twentieth century, in which historical figures became the central figures in theatrically bittersweet love affairs. The success of Paganini encouraged the composer to continue in this direction of historical drama, and he went on to write both Der Zarewitsch and Friederike as a result. Unfortunately, Tauber was unavailable for the Vienna premiere of Paganini, on October 30, , but he was able to participate in the Berlin premiere of January 30, Paganini temporarily takes quarters in a village, on the way to perform at the court in Lucca. He entrances the listeners with his practising, amongst whom is Princess Elisa.