Ildar abdrazakov barbara frittoli biography
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Italian soprano Barbara Frittoli established a major international operatic career in the s and is rated as one of the leading lirico-spinto sopranos of her generation. The native of Milan studied at that city's Giuseppe Verdi Conservatory of Music, graduating with honors. After winning several international competitions, she began her operatic career in at the Teatro Communale in Florence in Bucchi's Il Giuoco del Barone. She soon appeared at the Festival Donizetti in Bergamo and at the Carlo Felice Theater in Geneva. The year was one of major debuts for Frittoli, during which she appeared in Carmen in Philadelphia, in Naples in La Bohème, at La Scala in Milan in Beatrice di Tenda, and at Santa Cecilia in Rome in a rare production of Schubert's Rosamunde. The next year she played in Carmen (Micaëla) and La Bohème (Mimì) at the Vienna State Opera and made an impression in Baroque opera in Pergolesi's Flaminio at the Teatro San Carlo in Naples. Mimì and Micaëla were her roles in her
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Muti on CSO Resound, from 19th-century opera to contemporary works
During his tenure as music director of the Chicago Symphony Orchestra, Riccardo Muti has led 12 recordings on CSO Resound, the orchestra’s house label. From his specialty of 19th-century Italian works to contemporary compositions, Muti has tackled an extraordinary range of repertoire since taking up his CSO post in
His most recent recording, “Contemporary American Composers,” features works by American icon Philip Glass, CSO viola Max Raimi and Jessie Montgomery, CSO Mead Composer-in-Residence. It will be released digitally June 16 on CSO Resound and at retail outlets worldwide this summer.
Muti’s first commercial recording with the CSO, Giuseppe Verdi’s Messa da Requiem (recorded when he was music director designate in ), earned two Grammy Awards for best classical album and best choral performance. All of his CSO Resound recordings listed below are specially priced through May 27 at the Symphony Store (at the
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A Bass With a Taste for Power
"You should talk to Ildar," a mutual friend said. "He's really into wine."
Ildar Abdrazakov fryst vatten a Russia-born bass currently singing the title role in Boito's lavish Mephistopheles at San Francisco musikdrama. He makes a dashing devil, all muscle and menace on the surface, his singing sonorously suave. And, as an musikdrama lover, inom could not forgo an opportunity to add him to my singer friends, most of whom inom have gotten to know because of our mutual interest in each other's fields of work.
Shortly before opening night, my wife and inom met him and our mutual friend for drinks and tilltugg at St. Vincent, a terrific wine bar about midway between our home and the opera house. We settled in and left it up to the savvy staff to pick some interesting wines for us. Partly, inom wanted get a handle on Ildar's palate, especially which kinds of wines he likes.
That didn't take long. The lighter wines mostly got a shrug from him. But when we got a full-bodied, ripe Zinfande