On 5 July 1950, shortly after the completion of the Salome score in Berlin and well before its first performance, Strauss wrote to inform his publisher Adolf Fürstner that he himself would undertake a French version of his new composition. His adaptation would retain the existing orchestration but alter the vocal line to accommodate Oscar Wilde's original French Salomé. Geneviève Lièvre, notes to the Virgin recording.
Learn How To Draw The Traditional Way. Work along with Matt as he methodically renders each part of this detailed drawing. This is a DVD that will really teach you how to draw with skill and confidence. Matt is providing many extras including downloadable PDF's of cast photo reference to go with this DVD box set.
Hard on the heels of a triumphant Lohengrin, Decca follows up with an equally astonishing debut performance from Jonas Kaufmann: Goethe’s love-lorn hero Werther, in Massenet’s romantic opera. His premiere appearance in the role, in Paris in January 2010, took the French operatic world by storm, his performance being hailed by Le Monde: “Werther is portrayed by the tenor of the moment, the German Jonas Kaufmann. He brings to the part a sublime timbre (warm, at times “baritonal” and musky), exceptional musicality, a very wide palette of tonal shadings and immaculate diction. Add to that his histrionic gifts and matinée-idol appeal and you’ve got a cocktail of qualities that rarely all come together at the opera.”
Inspired by the Academy Award-winning film, An American in Paris brings this classic tale to Broadway, for the first time, with music and lyrics by George and Ira Gershwin and a book by Tony and Pulitzer Prize nominee Craig Lucas. The show is directed and choreographed by Olivier Award winner and Artistic Associate of The Royal Ballet, U.K., Christopher Wheeldon. An American in Paris is the romantic story of a young American soldier, a beautiful French girl and an indomitable city, each yearning for a new beginning in the aftermath of World War II. The show had its Broadway premiere on April 12 at The Palace Theater. The score was adapted, arranged and supervised by Rob Fisher with orchestrations by Christopher Austin and musical direction by Brad Haak.