Jeff Tullis, Double Bass

Mélodie from Orfeo ed Euridice / Christoph Willibald Gluck; arr. Tullis; Pièces en concert / Francois Couperin; Elegy No. 1 / Giovanni Bottesini; Deux pièces pour contrebasse et piano / Reinhold Glièr

Concert recording 2017-11-20a

[Track 1]. Che farò senza Euridice? from Orfeo ed Euridice / Christoph Willibald Gluck -- [Track 2]. 2 Gesänge, op. 91. I. Gestillte Sehnsucht II. Giestliches Wiegenlied / Johannes Brahms -- [Track 3]. Ô mon cher amant, je te jure [Track 4]. Tu n\u27es pas beau, tu n\u27es pas riche from La Périchole / Jacques Offenbach -- [Track 5]. La vie en rose / Édith Piaf

Orfeo ed Euridice

Orquestra Simfònica i Cor del Gran Teatre del Liceu. Director d'orquestra Dietfried Bernet, director del Cor Romano GandolfiDe cada obra s'ha digitalitzat un programa sencer. De la resta s'han digitalitzat les parts que són diferents

Su Hyun Kim, Piano

Melody\u27 Second Ballet, from Orfeo ed Euridice / Christoph Willibald Von Gluck; Transcribed by Alexander Siloti; Piano Sonata No. 26 Op. 81a \u27Les Adieux\u27 / L. V. Beethoven; The Firebird / Stravinsky- Agosti; Calle Veneziana / Kye Ryung Park; Violin Sonata No. 2 in A major, op. 100 / Johannes Brahm

Faculty Recital: Tong-Il Han, piano, November 5, 2002

This is the concert program of the Faculty Recital: Tong-Il Han, piano performance on Tuesday, November 5, 2002 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue. Works performed were Melody from the opera "Orfeo ed Euridice" by Christoph Willibald von Gluck, Four Preludes by Sergei Rachmaninov, Sonata No. 6 in A Major, Op. 82 by Sergei Prokofiev, and Four Ballades by Frédéric Chopin. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Concert recording 2016-09-14

[Track 1]. Orfeo ed Euridice. Melodie / C.W. Gluck Ignaz Friedman -- [Track 2]. Tango / Issac Albeniz Leopold Godowsky -- [Track 3]. Goyescas, op. 11. Quejas, o la maja y el ruiseñor [Track 4]. El amor y la muerte / Enrique Granados -- [Track 5]. El Jaleo for Yoonie Han / Theodore Wiprud -- [Track 6]. Rhapsody in blue / George Gershwin -- [Track 7]. Suite bergamasque. Claire de lune / Claude Debussy

Mitología y ópera: Orfeo ed Euridice de Gluck

Este trabajo pretende realizar una aproximación a la ópera Orfeo ed Euridice, de Christoph Willibald Gluck, tomando como referencia las fuentes clásicas que pudieron haber inspirado al libretista en la elaboración del texto, y realizando también una comparativa con otras obras de la misma temática, como el poema La favola d’Orfeo de Angelo Poliziano o la ópera homónima de Claudio Monteverdi.This work aims to make an approach to Christoph Willibald Gluck’s opera Orfeo ed Euridice, taking the classical sources that could have inspired the librettist while composing the text as a reference, and making a comparison with other works about the same topic, such as the poem La favola d’Orfeo from Angelo Poliziano or Claudio Monteverdi’s opera of the same name.Departamento de Filología ClásicaGrado en Estudios Clásico

An Evening of Opera Scenes, December 8 and 9, 1984

This is the concert program of An Evening of Opera Scenes on Saturday, December 8 and Sunday, December 9, 1984 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Scenes performed were Act II duet and aria from Fidelio by Ludwig van Beethoven with libretto by Josef Sonnleithner, Act II, scene 3 from Cosi fan tutte by Wolfgang Amadeus Mozart with libretto by Lorenzo da Ponte, Act III from Orfeo ed Euridice by Christoph Willibald von Gluck with libretto by Raniero da Calzabigi, Act I duet from The Merry Wives of Windsor by Otto Nicolai, and Act II from The Marriage of Figaro by W. A. Mozart with libretto by L. d. Ponte. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Orphic Variations in Scenes of Clerical Life

This is from Orfeo\u27s climactic aria, Che faro senza Euridice, in Gluck\u27s opera, Orfeo ed Euridice (1762). That the tune may sound too graceful to suit the desperate words can be explained by Orfeo\u27s awareness of the means he has ready to hand of being reunited with Eurydice: he can cross the river Styx again by killing himself. At the moment of this declaration, contrary to the original myth, personified Love intervenes and Orfeo recovers Eurydice for the second time. What I would like to suggest in the following paper is that this myth of Orpheus\u27 descent to the underworld provides a paradigm that enables us to follow the patterns of desire in Eliot\u27s early fiction, through the reading of its employment in \u27Mr. Gilfil\u27s Love-story\u27. Gluck\u27s Orfeo was originally played by a castrato, and the gender of the role has continued to be treated ambiguously. Therefore, it is not unnatural that Caterina in \u27Mr. Gilfil\u27s Love-Story\u27 should express her feminine desire by singing this aria in the drawing-room of Cheverel Manor: Caterina as Orfeo is lamenting the loss of Anthony as Euridice. Certainly, Che faro is \u27Sir Christopher\u27s favourite\u27 (p. 240),2 but the song he specifically requests (p. 142) and asks for an encore (p. 143) is a different one, Ho perduto it bel sembiante, which suggests an emotional investment in Che faro on Caterina\u27s part: it is her personal choice within her repertoire, whereas generally she has to sing to order (p. 171). Moreover, while both songs in \u27which the singer pours out his yearning after his lost love, came very close to Caterina\u27s own feeling\u27 (p. 143), it is the Che faro which is especially praised, \u27Excellent, Caterina [ ...] I never heard you sing that so well.\u27 (p. 143) That the aria is sung again later in a significant manner, together with the fact that Eliot shows her recognition in the article, \u27Liszt, Wagner, and Weimar\u27, that it was Gluck who reformed the opera in order fully to integrate the sung parts into the plot? encourages us actively to read into the aria\u27s signification within the context of the story

Orphic Variations in Scenes of Clerical Life

This is from Orfeo\u27s climactic aria, Che faro senza Euridice, in Gluck\u27s opera, Orfeo ed Euridice (1762). That the tune may sound too graceful to suit the desperate words can be explained by Orfeo\u27s awareness of the means he has ready to hand of being reunited with Eurydice: he can cross the river Styx again by killing himself. At the moment of this declaration, contrary to the original myth, personified Love intervenes and Orfeo recovers Eurydice for the second time. What I would like to suggest in the following paper is that this myth of Orpheus\u27 descent to the underworld provides a paradigm that enables us to follow the patterns of desire in Eliot\u27s early fiction, through the reading of its employment in \u27Mr. Gilfil\u27s Love-story\u27. Gluck\u27s Orfeo was originally played by a castrato, and the gender of the role has continued to be treated ambiguously. Therefore, it is not unnatural that Caterina in \u27Mr. Gilfil\u27s Love-Story\u27 should express her feminine desire by singing this aria in the drawing-room of Cheverel Manor: Caterina as Orfeo is lamenting the loss of Anthony as Euridice. Certainly, Che faro is \u27Sir Christopher\u27s favourite\u27 (p. 240),2 but the song he specifically requests (p. 142) and asks for an encore (p. 143) is a different one, Ho perduto it bel sembiante, which suggests an emotional investment in Che faro on Caterina\u27s part: it is her personal choice within her repertoire, whereas generally she has to sing to order (p. 171). Moreover, while both songs in \u27which the singer pours out his yearning after his lost love, came very close to Caterina\u27s own feeling\u27 (p. 143), it is the Che faro which is especially praised, \u27Excellent, Caterina [ ...] I never heard you sing that so well.\u27 (p. 143) That the aria is sung again later in a significant manner, together with the fact that Eliot shows her recognition in the article, \u27Liszt, Wagner, and Weimar\u27, that it was Gluck who reformed the opera in order fully to integrate the sung parts into the plot? encourages us actively to read into the aria\u27s signification within the context of the story