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Playlist of Walter Berry (opera singer)

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  • Erna Berger & Walter Berry; Batti, batti, o bel Masetto; Don Giovanni; Wolfgang Amadeus Mozart

    6:06

    Erna Berger--Soprano
    Walter Berry--Baritone
    Wilhelm Furtwängler--Conductor
    Wiener Philharmoniker
    Salzburger Festspiele
    1954

  • x
  • 41 Mache dich, mein Herze, rein

    6:52

    Johan Sebastian Bach, St. Matthew Passion, Karl Richter, Walter Berry

  • x
  • Walter Berry - Da Capo - Interview with Walter Berry 1992

    1:09

    Walter Berry - Da Capo - Interview with August Everding
    Im Gespraech mit August Everding
    January 18, 1992

  • Christa Ludwig; Walter Berry; Sound the Trumpet!; Henry Purcell

    2:19

    Christa Ludwig--mezzo-soprano
    Walter Berry--bass-baritone
    Gerald Moore--piano
    1965

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  • mozart requiem tuba mirum

    4:01

    gundula janowitz soprano
    christa ludwig contralto
    peter schreier tenor
    walter berry bajo

    karl bohm director
    orquesta sinfonica de viena

  • Birgit Nilsson Tristan und Isolde filmed Better Quality

    3:33:12

    Richard Wagner
    Tristan und Isolde

    Orange, Théâtre Antique
    7 July, 1973

    Tristan - Jon Vickers
    Isolde - Birgit Nilsson
    König Marke - Bengt Rungren
    Kurwenal - Walter Berry
    Melot - Stan Unruh
    Brangäne - Ruth Hesse
    Ein Hirt - Horst Laubenthal
    Ein junger Seemann - Horst Laubenthal
    Steuermann - Paul Taillefer

    New Philharmonia Chorus
    Orchestre National de l'O.R.T.F.
    Conductor Karl Böhm

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  • Why Karajan founded the Salzburg Easter Festival

    17:50

    In 2020 the Easter Festival had to be cancelled due to Covid-19. It was the very first time since its inception by Herbert von Karajan that the Easter Festival did not take place. To ease the disappointment Pia Bernauer, Head of Archive at the Karajan Institute in Salzburg decided to get a fascinating documentary from the archive. In this almost forgotten documentary Herbert von Karajan talks about his vision and motivation to start the Easter Festival. Furthermore he explains his programmatic choices and how the Easter Festival with its focus on Wagner operas has its legitimate place besides the Bayreuth Festival. Enjoy this very first episode of our new video series TREASURES FROM THE ARCHIVE.

    Producer & Host: Pia Bernauer, Karajan Institute, Salzburg

    #karajan #osterfestspiele #easterfestival
    -----------------------------------------------------------------------------------------------

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    THE KARAJAN INSTITUTE: The Eliette and Herbert von Karajan Institute was founded in 2005 by Eliette von Karajan to promote the artistic legacy of her late husband, Herbert von Karajan. With more than 3.300 live performances and over 2.200 recordings of more than 750 classical works the conductor's unique legacy covers the most important classical compositions.

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  • Christa Ludwig and Walter Berry Duet In Die Frau Ohne schatten act 3

    11:42

    ludwig and berry... barak and his wife

    wonderful duet in act3

    metropolitan 1966 with Karl Bohm

  • Henry Mancini, Pink Panther Theme

    3:08

    The soloists are Plas Johnson on sax, Gus Bivona and Bill Green on flute, and Frank Capp on Drums. Pete and Conte Candoli, John Audino, Carl Fontana, Med Flory Sax, Bill Berry Coronet, Slyde Hyde also on Trombone,
    etc... It is the Terry Gibbs Band with of course Henry
    Mancini on the piano....

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  • Principessa Lou-Ling Turandot

    10:55

    DONATIONS/DONAZIONI:
    - US$1 is more than enough to keep this channel on!


    Intro:
    00:00 - In questa Reggia, Maria Callas

    Principessa Lou-Ling:
    00:11 - Montserrat Caballé
    01:02 - Eva Marton
    01:51 - Eva Turner
    02:45 - Ghena Dimitrova
    03:35 - Gina Signa
    04:35 - Inge Borkh
    05:27 - Joan Sutherland
    06:17 - Leontyne Price
    07:10 - Birgit Nilsson
    07:58 - Anna Netrebko
    08:54 - Maria Callas

    Outro:
    09:55 - ¡Thanks for watching! and Maria Callas

    Anna Netrebko for mere comparison.
    We need to educate new listeners! THIS IS NOT OPERA!

    #Opera #Turandot #OldSchoolSingers
    Share with your friends! Gift me a like and suscribe!
    ¿Next Opera? You decide, on the comments..! Ciao!

  • Walter Berry - Fidelio - Ha! welch ein Augenblick

    3:23

    George Clooney lookalike Walter Berry gives a terrific performance in Beethoven's Fidelio.

  • WALTER BERRY - Come unape ne giorni daprile

    4:54

    Gioachino Rossini (1792-1868)
    La Cenerentola
    Come un'ape ne' giorni d'aprile
    Dandini: WALTER BERRY
    Alberto Erede: Chor und Orchester der Wiener Staatsoper
    Wien, 25. Oktober 1959

  • 100 Singers - WALTER BERRY

    5:13

    Walter Berry, Bass-baritone (1929-2000)
    Wolfgang Amadeus Mozart: DON GIOVANNI
    Madamina, il catalogo è questo
    Conducted by Herbert von Karajan / recorded live 1960 at the Salzburg Festival

    My personal opinion: The Austrian bass-baritone Walter Berry was still a youngster when he came fresh from the academy to the newly established team of the 'Vienna ensemble', created by Josef Krips (note my comment in the Maria Reining video). It was the time of farewelling the old Mozart ideal with the bombast of a voluminous orchestra. The new concept was marked by more playful sounds: Clearer, lighter and sweeter than before. In this intimacy, voices like that of Reining, Irmgard Seefried, Elisabeth Schwarzkopf, Wilma Lipp, Anton Dermota or Erich Kunz, to name but a few, matured. After an audition, Berry received his contract for a scholarship to sing small roles. Later he said: For me it was a fantastic opportunity to be on stage with such greats as Cesare Siepi, George London or veteran Paul Schoeffler. Gradually, Berry took over the roles of the aging bass-baritone Erich Kunz, twenty years his senior. Kunz was a darling of the Viennese audience; an arch-comedian and most beloved for his emotional portrayals of Mozart's Figaro and Papageno; two characters soon thereafter in the hands of Berry, whose voice was more vigorous and virile. In rapid succession, Berry expanded his repertoire and changed from a 'basso buffo' to a heroic baritone. In 1961, HMV producer Legge chose Berry to sing Pizarro in Klemperer's famous recording of Beethoven's FIDELIO with the recently deceased Jon Vickers and Christa Ludwig, Berry's spouse since 1957.
    The baritone's first appearance at the 'Salzburg Festival' was already in 1953 as Masetto in DON GIOVANNI; a part he repeated two years later at the 'Vienna State Opera' in the first season of the re-opened house. At that time, in the pre-Karajan era, all operas were sung in German. The same year, Berry recorded DON GIOVANNI under Rudolf Moralt and switched from Masetto to Leporello - still one of the best versions, though I must admit, I'm not a devoted fan of George London in the title role. Thereafter, Walter Berry sang a brave and aggressive Figaro in Karl Boehm's recording of LE NOZZE DI FIGARO. An international career followed. The bass-baritone repeated Leporello in the sluggish Otto Klemperer DON GIOVANNI with Ghiaurov as the Don. Beside Mozart, Berry also sang baroque operas by Handel as well as Strauss (Barak), Verdi, Smetana, Borodin, Humperdinck, Mascagni, Lortzing and modern compositions: For many critics, Berry was the best recorded WOZZECK. He sings the role, wrote John Steane, ...and 'sings' is the word. One hears a true legato and well-rounded beauty of tone.
    Most admirable also Berry's Hungarian sung Bluebeard in the 1965 recording of Bartók's only opera A KÉKSZÁKÁLLU HERCEG VÁRA under István Kertész with Christa Ludwig, who sings a radiant top C over the full orchestra when the fifth door of DUKE BLUEBEARD'S CASTLE opens.
    Walter Berry first hesitated to sing Wagner, later he performed Wotan (in Salzburg and New York) and Kurwenal (on records). Much of his sunny nature exposed Berry in operetta recordings. As Frank in the underrated FLEDERMAUS recording led by Robert Stolz, he is simply hilarious (notably in the Act I finale). One must hear him also in the Stanislaus - Baron Weps duet from Zeller's VOGELHAENDLER with Gerhard Unger; an amusing equivalent to Cheti, cheti immantinente from Donizetti's DON PASQUALE. The rhythm of the interjected laughs is infectious.
    It was one of Berry's most talented skills, to represent equally compelling sympathetic figures as well as villains and enemies. The relevant repertory ranged from Mozart's Papageno to Beethoven's evil Don Pizarro. In the 1962 FIDELIO live document from Vienna under Karajan, Berry is a snarling devil. Of his two ZAUBERFLOETE recordings (Klemperer, Sawallisch) I prefer the latter with dialogue. No idea what prompted Otto Klemperer and producer Walter Legge to omit all the important spoken words ...
    Walter Berry was one of those singers who became an instituion, and especially in Vienna he has left his traces as an indispensable, compelling and charismatic artist. To remember him in this series was merely only a matter of time. The world of opera always needed strong personalities, and Berry, with his combination of humanity and highest artistic standards, was without doubt one of them.

  • Ha! Welch Ein Augenblick!-Walter Berry

    3:11

    From Beethoven's Fidelio. Sung by Walter Berry, conducted by Herbert Von Karajan.

    Lyrics:
    (PIZARRO)
    Ha! Welch ein Augenblick!
    Die Rache werd ich kühlen!
    Dich rufet dein Geschick!
    In seinem Herzen wühlen,
    O Wonne, großes Glück!
    Schon war ich nah, im Staube,
    Dem lauten Spott zum Raube,
    Dahingestreckt zu sein.
    Nun ist es mir geworden,
    Den Mörder selbst zu morden!
    Ha! Welch ein Augenblick! (etc.)
    In seiner letzten Stunde,
    Den Stahl in seiner Wunde,
    Ihm noch ins Ohr zu schrein:
    Triumph! Der Sieg ist mein!

    (CHOR)
    Er spricht von Tod und Wunde!
    Wacht scharf auf eurer Runde,
    Wie wichtig muss es sein!

    (PIZARRO)
    Ha! Welch ein Augenblick! (etc.)
    Triumph Der Seig ist mein!
    Er ist mein!

  • Beethoven--Getting On Well With Girls--Walter Berry

    4:20

    Mit Mädeln sich vertragen
    Beethoven composed this in 1790, to words by Goethe.
    Walter Berry, bass, performs here with the Munich Convivium, conducted by Erich Keller.

    Straight from the 1971 vinyl. For entertainment purposes only--I own nothing here.

  • Walter Berry; Un bacio di mano; KV 541; Wolfgang Amadeus Mozart

    1:56

    Walter Berry--Bass
    Leopold Heger--Conductor
    Salzburg Mozarteum Orchester
    1979-1982

  • Walter Berrys Agamemnon

    4:32

  • Christa Ludwig; Walter Berry; Duetto buffo di due gatti; Gioachino Rossini

    2:30

    Christa Ludwig--mezzo-soprano
    Walter Berry--bass-baritone
    Gerald Moore--piano
    1966

  • Set Svanholm; Christa Ludwig; Walter Berry; RIENZI; ; Richard Wagner

    1:59:08

    Set Svanholm--Rienzi
    Christa Ludwig--Adriano
    Walter Berry--Paolo Orsini
    Paul Schofler--Stefano Colonna
    Teresa Stich-Randall--Messenger of Piece
    Josef Krips--conductor
    Orchester der Wiener Staatsoper
    1960

  • DON GIOVANNI - Madamina, il catalogo è questo - Walter Berry

    2:09

    Walter Berry(Austria,1929-2000) as Leporello

    Aria: Madamina, il catalogo è questo

    Don Giovanni, W. A. MOZART, 1787

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  • Wolfgang Amadeus Mozart - DIE ZAUBERFLÖTE - Der Vogelfänger bin ich ja

    2:43

    DIE ZAUBERFLÖTE (THE MAGIC FLUTE)
    Opera in 2 acts
    Composer: Wolfgang Amadeus Mozart
    Librettist: Emmanuel Schikaneder
    First performance: Freihaustheater, Vienna, 30 September 1791

    THE MAGIC FLUTE premièred a couple of months before Mozart’s death. A mixture of Freemasonry and fairy story, it looks forward to the folksy Romanticism of Weber’s FREISCHÜTZ and the lofty beauty of Wagner.

    Tamino, a handsome prince, is rescued from a serpent by three ladies in the service of the Star-Blazing Queen. She asks him to rescue her daughter Pamina, whom the evil sorcerer Sarastro has kidnapped. Tamino and the birdcatcher Papageno set out, but learn that Sarastro is good and the Queen of the Night evil. Tamino and Pamina have passed through various trials and marry; the simple Papageno finds happiness with the bird-woman Papagena; and the Queen and her minions fall into darkness.

    “Der Vogelfänger bin ich ja”
    Papageno the birdcatcher is a merry fellow – but his life would be better if he had a girlfriend.

    Papageno (baritone): Walter Berry

    Conductor: Otto Klemperer
    Philharmonia Chorus & Orchestra
    London 1964

  • Set Svanholm; Christa Ludwig; Walter Berry; RIENZI; ; Richard Wagner;

    2:1:37

    Set Svanholm--Rienzi
    Christa Ludwig--Adriano
    Walter Berry--Paolo Orsini
    Anne Lund Christiansen--Irene
    Paul Schoffler--Steffano Colonna
    Josef Krips--conductor
    Wiener Symphoniker
    1960

  • Walter Berry; Da lieg ich...Ohne mich; DER ROSENKAVALIER; Richard Strauss

    11:53

    Walter Berry--Ochs
    Margarita Lilowa--Annina
    Erich Kunz--Faninal
    Leonard Bernstein--conductor
    Vienna State Opera Orchestra
    1968 (LIVE)

  • Don Giovanni: Fuggi, crudele, fuggli

    4:32

    Provided to YouTube by The Orchard Enterprises

    Don Giovanni: Fuggi, crudele, fuggli · Vienna State Opera Chorus · Wolfgang Amadeus Mozart · Wilhelm Furtwangler · Vienna Philharmonic Orchestra · Cesare Siepi · Elisabeth Schwarzkopf · Elisabeth Grummer · Anton Dermota · Otto Edelmann · Erna Berger · Walter Berry

    Mozart: Don Giovanni

    ℗ 2008 LRC LTD

    Released on: 2008-11-14

    Auto-generated by YouTube.

  • Berg: Wozzeck, Op. 7 / Act 2 - Orchester-Einleitung - Was die Steine glänzen!

    5:18

    Provided to YouTube by Universal Music Group

    Berg: Wozzeck, Op. 7 / Act 2 - Orchester-Einleitung - Was die Steine glänzen! · Evelyn Lear · Dietrich Fischer-Dieskau · Orchester der Deutschen Oper Berlin · Karl Böhm

    Berg: Lulu & Wozzeck

    ℗ 1965 Deutsche Grammophon GmbH, Berlin

    Released on: 1992-01-01

    Producer: Otto Gerdes
    Producer, Studio Personnel, Balance Engineer: Wolfgang Lohse
    Studio Personnel, Balance Engineer: Günter Hermanns
    Composer Lyricist: Alban Berg
    Author, Original Text Author: Georg Büchner

    Auto-generated by YouTube.

  • Wolfgang Amadeus Mozart - DIE ZAUBERFLÖTE - Bei Männern, welche Liebe fühlen

    3:36

    DIE ZAUBERFLÖTE (THE MAGIC FLUTE)
    Opera in 2 acts
    Composer: Wolfgang Amadeus Mozart
    Librettist: Emmanuel Schikaneder
    First performance: Freihaustheater, Vienna, 30 September 1791

    THE MAGIC FLUTE premièred a couple of months before Mozart’s death. A mixture of Freemasonry and fairy story, it looks forward to the folksy Romanticism of Weber’s FREISCHÜTZ and the lofty beauty of Wagner.

    Tamino, a handsome prince, is rescued from a serpent by three ladies in the service of the Star-Blazing Queen. She asks him to rescue her daughter Pamina, whom the evil sorcerer Sarastro has kidnapped. Tamino and the birdcatcher Papageno set out, but learn that Sarastro is good and the Queen of the Night evil. Tamino and Pamina have passed through various trials and marry; the simple Papageno finds happiness with the bird-woman Papagena; and the Queen and her minions fall into darkness.

    Duett: Bei Männern, welche Liebe fühlen
    Papageno has come to rescue Pamina, and tells her that Tamino is on his way. The two sing a song about the happiness and nobility of marriage.

    Pamina (soprano): Gundula Janowitz
    Papageno (baritone): Walter Berry

    Conductor: Otto Klemperer
    Philharmonia Chorus & Orchestra
    London 1964

  • Don Giovanni K527, Atto Primo, Scena seconda: Aria: Madamina, il catalogo è questo

    6:32

    Provided to YouTube by Warner Classics

    Don Giovanni K527, Atto Primo, Scena seconda: Aria: Madamina, il catalogo è questo (Leporello) · Walter Berry/New Philharmonia Orchestra/Otto Klemperer

    Mozart: Don Giovanni

    ℗ 1966 Warner Classics, Warner Music UK Ltd Digital remastering (p) 1991 Warner Classics, Warner Music UK Ltd

    Librettist: Lorenzo Da Ponte
    Lead Vocals: Walter Berry
    Lead Vocals: New Philharmonia Orchestra
    Orchestra: New Philharmonia Orchestra
    Lead Vocals: Otto Klemperer
    Conductor: Otto Klemperer
    Produced by: Peter Andry
    Producer: Peter Andry
    Producer: Suvi Raj Grubb
    Bass: Walter Berry
    Composer: Wolfgang Amadeus Mozart

    Auto-generated by YouTube.

  • Così fan tutte, K. 588, Act 2 Scene 17: Miei Signori, tutto è fatto (Don Alfonso,...

    1:54

    Provided to YouTube by Warner Classics

    Così fan tutte, K. 588, Act 2 Scene 17: Miei Signori, tutto è fatto (Don Alfonso, Fiordiligi, Dorabella, Ferrando, Guglielmo, Despina) · Elisabeth Schwarzkopf/Christa Ludwig/Alfredo Kraus/Giuseppe Taddei/Walter Berry/Hanny Steffek/Heinrich Schmidt/Philharmonia Chorus/Philharmonia Orchestra/Karl Böhm

    Mozart: Così fan tutte

    ℗ 1963 Warner Classics, Warner Music UK Ltd Digital remastering (p) 1988 Warner Classics, Warner Music UK Ltd

    Tenor Vocals: Alfredo Kraus
    Mezzo-soprano Vocals: Christa Ludwig
    Balance Engineer: Douglas Larter
    Soprano Vocals: Elisabeth Schwarzkopf
    Baritone Vocals: Giuseppe Taddei
    Soprano Vocals: Hanny Steffek
    Conductor: Karl Böhm
    Orchestra: Philharmonia Orchestra
    Remastering Engineer: Simon Rhodes
    Bass Vocals: Walter Berry
    Producer: Walter Legge
    Composer: Wolfgang Amadeus Mozart

    Auto-generated by YouTube.

  • Don Giovanni K527, Atto Primo, Scena prima, Introduzione: Notte e giorno faticar :...

    2:58

    Provided to YouTube by Warner Classics

    Don Giovanni K527, Atto Primo, Scena prima, Introduzione: Notte e giorno faticar (Leporello) : Lasciala, indegno! (Commendatore/Don Giovanni/Leporello) · Walter Berry/Nicolai Ghiaurov/New Philharmonia Orchestra/Christa Ludwig/Franz Crass/Otto Klemperer/Claire Watson/Nicolai Gedda/Mirella Freni/Paolo Montarsolo/New Philharmonia Chorus

    Mozart: Don Giovanni

    ℗ 1966 Warner Classics, Warner Music UK Ltd Digital remastering (p) 1991 Warner Classics, Warner Music UK Ltd

    Lead Vocals: Christa Ludwig
    Lead Vocals: Claire Watson
    Lead Vocals: Franz Crass
    Librettist: Lorenzo Da Ponte
    Lead Vocals: Mirella Freni
    Lead Vocals: New Philharmonia Chorus
    Orchestra: New Philharmonia Orchestra
    Lead Vocals: New Philharmonia Orchestra
    Lead Vocals: Nicolai Gedda
    Lead Vocals: Nicolai Ghiaurov
    Conductor: Otto Klemperer
    Lead Vocals: Otto Klemperer
    Lead Vocals: Paolo Montarsolo
    Producer: Peter Andry
    Produced by: Peter Andry
    Producer: Suvi Raj Grubb
    Bass: Walter Berry
    Lead Vocals: Walter Berry
    Composer: Wolfgang Amadeus Mozart

    Auto-generated by YouTube.

  • Luciano Pavarotti - Torna A Surriento | The Voice Senior | Sing-Offs | SAT.1 TV

    2:16

    Wenn Willi mit seiner operngleichen Stimme Torna A Surriento von Luciano Pavarotti singt bebt der ganze Saal! Wird er sich mit seiner beeindruckenden Version von Torna A Surriento des Star-Tenors Luciano Pavarotti in das The Voice Senior-Finale singen?

    #Pavarotti #TornaASurriento #VoiceSenior

    ►Ganze Folgen:
    ►Alle Performances:
    ►Alle News:

    Jetzt bei TheVoice of Germany oder The Voice Senior bewerben:


    ► SUBSCRIBE TO THE VOICE SENIOR CHANNEL:


    Wer 'The Voice' kennt, wird 'The Voice Senior' lieben, prophezeit Sascha Vollmer. Ich glaube, dass 'The Voice Senior' alles in den Schatten stellen wird, sagt Alec Völkel. Nach fünf Jahren Pause sitzen die Frontmänner von The BossHoss wieder auf Deutschlands berühmtesten roten Drehstühlen. Im Wettstreit mit den weiteren Coaches Yvonne Catterfeld, Mark Forster und Sasha batteln sich The BossHoss um die beste Stimme ab 60 – bei The Voice Senior ab 23. Dezember in SAT.1.

    Mit 'The Voice Senior' geben wir zum ersten Mal ganz bewusst einer älteren Generation die Chance, uns mit ihrer Stimme zu überzeugen, sagt Yvonne Catterfeld. Das ist die Geburtsstunde eines neuen 'The Voice'-Universums, sagt Mark Forster. Es ist das erste Mal, dass Sängerinnen und Sänger über 60 gegeneinander antreten, sagt Sasha. Moderiert wird The Voice Senior von Lena Gercke und Thore Schölermann.

    #TheVoiceSenior #VoiceSenior #MarkForster #Bosshoss #YvonneCatterfeld #Sasha #TVShow

    Impressum:

  • Leuchte, heller Spiegel, mir

    3:42

    Provided to YouTube by Rebeat Digital GmbH

    Leuchte, heller Spiegel, mir (Hoffmanns Erzählungen) · Orchester der Staatsoper Berlin · Heinrich Schlusnus

    Heinrich Schlusnus in Arien und Szenen

    ℗ 1999 Preiser Records

    Released on: 2006-08-19

    Composer: Jacques Offenbach

    Auto-generated by YouTube.

  • Schwarzkopf/Ludwig/Berry Soave sia il vento Cosi fan tutte

    3:19

    Elisabeth Schwarzkopf, Christa Ludwig & Walter Berry
    sing Soave sia il vento from Cosi fan tutte by
    Wolfgang Amadeus Mozart
    Philharmonia Orchestra
    Karl Böhm, Conductor

  • Christa Ludwig; Walter Berry; Schweigt doch...Mir anvertraut; DIE FRAU OHNE SCHATTEN; R. Strauss

    12:26

    Christa Ludwig--Dyer's Wife
    Walter Berry--Barak
    Margarita Llova--Stimme
    Herbert von Karajan--conductor
    Orchester der Wiener Staatsoper
    1964; LIVE

  • Don Giovanni, K. 527, Act I: Madamina, il catalogo è questo

    5:40

    Provided to YouTube by The Orchard Enterprises

    Don Giovanni, K. 527, Act I: Madamina, il catalogo è questo · Walter Berry · Wolfgang Amadeus Mozart · Wien Philharmonic Orchestra · Wien State Opera Chorus · Herbert von Karajan

    Mozart: Don Giovanni

    ℗ 2010 Urania

    Released on: 2010-02-03

    Auto-generated by YouTube.

  • Walter Berry; Kleine deutsche Kantate; KV 619; Wolfgang Amadeus Mozart

    7:43

    Walter Berry--baritone
    Erik Werba--pian o
    1981
    LIVE

  • Capriccio, Op. 85, TrV 279 : Scene 9: Duet of the Italian Singers: Addio, mia vita,...

    4:12

    Provided to YouTube by NAXOS of America

    Capriccio, Op. 85, TrV 279 (Excerpts) : Scene 9: Duet of the Italian Singers: Addio, mia vita, addio (Tenor, Soprano) · Lisa Della Casa

    R. Strauss: Capriccio, Op. 85, TrV 279 (Excerpts) (Live)

    ℗ 2016 Orfeo

    Released on: 2016-01-01

    Artist: Lisa Della Casa
    Artist: Robert Kerns
    Artist: Waldemar Kmentt
    Artist: Walter Berry
    Artist: Otto Wiener
    Artist: Christa Ludwig
    Artist: Peter Klein
    Artist: Lucia Popp
    Artist: Fritz Wunderlich
    Artist: Alois Pernerstorfer
    Artist: August Jaresch
    Artist: Ljubomir Pantscheff
    Artist: Fritz Sperlbauer
    Artist: Hans Christian
    Artist: Herbert Lackner
    Artist: Erich Majkut
    Artist: Siegfried Rudolf Frese
    Artist: Harald Proglhof
    Conductor: Georges Prêtre
    Orchestra: Orchester der Wiener Staatsoper
    Composer: Richard Strauss

    Auto-generated by YouTube.

  • Christa Ludwig: Strauss - Die Frau ohne Schatten, Schweigt Doch, Ihr Stimmen!

    11:41

    Christa Ludwig (born 16 March 1928) is a retired German lyric mezzo-soprano, distinguished for her performances of opera, Lieder, oratorio, and other major religious works like masses and passions, and solos contained in symphonic literature. Her career spanned from the late 1940s until the early 1990s. She is widely recognised as one of the most significant and distinguished singers of the 20th century. Ludwig made her American debut at the Lyric Opera of Chicago as Dorabella in Così fan tutte in 1959. That same year, she made her debut at the Metropolitan Opera in New York as Cherubino in Le nozze di Figaro and subsequently sang 121 performances in 15 different roles with the company until 1993. At the Metropolitan Opera, where she quickly became one of the audience's favourites, her repertoire included The Dyer's Wife in the Met's first-ever performances of Die Frau ohne Schatten, the title role and later the Marschallin in Der Rosenkavalier, Klytemnestra in Elektra, Ortrud in Lohengrin, Brangäne inTristan und Isolde, Fricka in both Das Rheingold and Die Walküre, Waltraute in Götterdämmerung, Kundry in Parsifal, the title role in Fidelio, Didon in Les Troyens, Charlotte in Werther, and Amneris in Aida. She first appeared at the Royal Opera House, Covent Garden in 1969 as Amneris in Aida. As Ludwig's voice matured, she expanded her repertoire from lyric and spinto mezzo-roles to dramatic roles. Her vast repertory eventually grew to encompass Princess Eboli in Don Carlo which she sang at La Scala in Milan, in Salzburg and in Vienna, the title-role in Carmen, Ulrica (Un ballo in maschera), Monteverdi's Octavia (L'incoronazione di Poppea), Dido (Les Troyens), Kundry (Parsifal), Klytemnestra (Elektra) and contemporary roles by von Einem and Orff. She also ventured briefly into the spinto and dramatic soprano repertory with performances of Verdi's Lady Macbeth (Macbeth), Strauss's Dyer's Wife (Die Frau ohne Schatten), the Marschallin (Der Rosenkavalier) and Beethoven's Leonore (Fidelio). In addition to her opera performances, Ludwig regularly gave recitals of Lieder (together with the German pianist Sebastian Peschko and on occasion, Leonard Bernstein) and as a soloist with orchestras. Her performances of Schubert, Schumann, Brahms, Wolf, Mahler and Strauss are much admired. She also sang Bach and performed and recorded most of his major vocal works.

    &

    Walter Berry (8 April 1929 – 27 October 2000) was an Austrian lyric bass-baritone who enjoyed a prominent career in opera. Walter Berry was born in Vienna. He studied voice at the Vienna Music Academy and made his stage debut with the Vienna State Opera in 1947. He became a permanent member of the company in 1950, remaining with that ensemble for his entire career, although he undertook frequent guest appearances elsewhere in Europe and in the UK. He made many memorable appearances at the Metropolitan Opera in New York City during the 1960s and '70s in such roles as Barak in Die Frau ohne Schatten, Telramund in Lohengrin, Wotan in Die Walküre, Baron Ochs in Der Rosenkavalier, Don Pizarro in Fidelio, Don Alfonso in Così fan tutte, the Music Master in Ariadne auf Naxos and Leporello in Don Giovanni. He sang his last Barak on 18 November 1984. Berry's other signature roles were Papageno in Mozart's The Magic Flute, Figaro and Bluebeard. He was also a noted interpreter of lieder (accompanied often at recitals by the German pianist Sebastian Peschko). Berry appeared, too, in choral works. Performing in light-hearted operettas, particularly Die Fledermaus, was one of his pleasures. Astonishingly, Berry never played on stage in London the role with which he perhaps became most closely linked, Papageno, despite a career on stage that spanned more than 40 years. Berry lent his talents to many highly regarded recordings, including the EMI Classics versions of The Magic Flute (as Papageno) and Beethoven's Fidelio (as Don Pizarro).
    He married the leading mezzo-soprano Christa Ludwig in 1957; they divorced in 1970. He died in 2000, aged 71, in Vienna.


    A link to this wonderful artists personal website:


    Please Enjoy!

    I send my kind and warm regards,

  • Leontyne Price; R. Kollo; T. Troyanos; E. Gruberova; ARIADNE AUF NAXOS; Richard Strauss

    2:59

    Leontyne Price--Ariadne
    Tatiana Trojanos--Composer
    Edita Gruberova--Zerbinetta
    René Kollo--Bacchus
    Walter Berry-- Musiklehrer
    Erich Kunz--Haushofmeister
    Najade--Deborah Cook
    Dryade--Enid Hartle
    Echo--Norma Burrowes
    Sir Georg Solti--Conductor
    London Philharmonic Orchestra
    1977

  • Quintetto - Hm hm hm - Die Zauberflöte

    4:56

    ???? I sing the ALL parts - wear HEADPHONE!!! - Kopfhörer verwenden, MUSS!!! - ヘッドホン必ずして!泣

    wonderful vocal ensemble written by Mozart

    Die drei Damen
    Papageno
    Tamino

    Korrepetition : Yusuke Takai
    ????????#高井雄介 #Opera #ASMR

  • Cenerentola

    5:16

    Walter Berry sings Cenerentola's Miei Rampolli Femimini,Riccardo Chailly conducting.

  • Christa Ludwig; Walter Berry; Erhebe dich, Genossin meiner Schmach!; LOHENGIN; Richard Wagner

    17:43

    Christa Ludwig--Ortrud
    Walter Berry-- Telramund
    Karl Böhm--conductor
    Orchester der Wiener Staatsoper
    LIVE; 1965

  • Wohl fühl ich, wie das Leben rinnt

    4:27

    5 Lieder, Op. 4 - 5 Lieder, Op. 4: No. 3. Wohl fuhl ich wie das Leben rinnt

    Wohl fühl' ich wie das Leben rinnt - suchend zwischen unglücklicher Liebe, Leidenschaft und Endzeitstimmung erklingen teils verzweifelnde, innehaltende, aber auch versöhnlich-hoffnungsvolle Lieder aus dem Wiener Musikleben der Wende vom 19. zum 20. Jahrhundert und der Zwischenkriegszeit. Der Tenor Norbert Ernst und Kristin Okerlund präsentieren Ausgewählte Lieder der österreichischen Komponisten Franz Schreker, Alexander Zemlinsky und Wilhelm Kienzl. Die Wangtal-Lieder des Wiener Neustädter Komponisten Michael Salamon, dem Interpreten Ernst im Jahr 2010 gewidmet, entstanden nach sieben Gedichten aus dem Zyklus „Das Wang-Tal“ des größten chinesischen Dichters der Tang-Dynastie, Wang Wei (um 701–761).

    Well do I feel like life runs - looking between unrequited love, passion and Endzeitstimmung sound sometimes despairing, held amusing, but also conciliatory hopeful songs from the Viennese musical life of the late 19th and early 20th century and the interwar period. The tenor Norbert Ernst and Kristin Okerlund present Selected Songs of the Austrian composer Franz Schreker, Alexander Zemlinsky and Wilhelm Kienzl. The Wangtal songs of Wiener Neustadt composer Michael Salamon, the artist Ernst in 2010 dedicated emerged after seven poems from the cycle The Wang-valley of the largest Chinese poet of the Tang Dynasty, Wang Wei (701-761 order). Norbert Ernst studied vocal pedagogy and concert in singing with Gerd Fussi on Josef Matthias Hauer Conservatory in Wiener Neustadt and song and oratorio with Robert Holl and Charles Spencer at the University of Music and Performing Arts in Vienna, and in master classes with Walter Berry and Kurt Equiluz . After his first engagement 2002-2005 at the Deutsche Oper am Rhein Guest appearances at major European opera houses such as the Bavarian State Opera in Munich, the Vienna State Opera, the Gran Teatre del Liceu Barcelona, ​​the Grand Théâtre de Geneve, in Berlin, Paris, Monte Carlo and Amsterdam under conductors such as Franz Welser-Möst, Christian Thielemann, Sebastian Weigle, Bertrand de Billy, Ingo Metzenmacher, Pierre Boulez and Ivor Bolton. since the 2010-11 season Norbert Ernst is an ensemble member of the Vienna State Opera. As a recital and concert singer Norbert Ernst guested on the biggest stages in Europe. 2014 he is with Kristin Okerlund at the piano recital debuts in New York and Paris. Kristin Okerlund studied at the St. Louis Conservatory of Music, at the University of Illinois and at the Vienna Conservatory, among others, John Wustman, Ian Hobson, Jane Allen and Leonid Brumberg. She has won numerous piano competitions and has given concerts with several orchestras. She received a teaching position in 1992 and since 2000 an own Korrepetitionsklasse at the Vienna Conservatory and is engaged at the Vienna State Opera since 1993. at international festivals and in major concert halls in the world Kristin Okerlund is a regular guest. She gave concerts with Bernd Weikl, Walter Berry, Samuel Ramey, Leo Nucci, William Warfield, Johan Botha, Klaus Maria Brandauer, Nancy Gustafson, Andrea Rost, Angelika Kirschschlager, Ildikó Raimondi, Heinz Zednik, Carlos Álvarez, Neil Shicoff, Giuseppe Sabbatini, José Cura, Bo Skovhus, Edita Gruber, Heidi Brunner, Janina Baechle, Norbert Ernst and many others.

  • Christa Ludwig & Walter Berry - A Most Unusual Song Recital LP N. 6.

    3:56

    1. Beethoven: Der Kuss
    2. Beethoven: Der Floh
    3. Haydn: Lob der Faulheit
    4. Rossini: Anzoleta avanti la regata
    5. Rossini: Anzoleta co passa la regata
    6. Rossini: Anzoleta dopo la regata
    7. Rossini: Duetto buffo di due gatti
    8. Brahms: We kumm ich dann de Pooz erenn?
    9. Brahms: Och, Moder, ich well en Ding han
    10. Brahms: Vergebliches Ständchen
    11. Reger: Der Brief
    12. Reger: Waldeinsamkeit
    13. Strauss: Schlechtes Wetter
    14. Strauss: Ach, weh mir unglückhaftem Mann
    15. Wolf: Zur Warnung
    16. Wolf: Auftrag
    17. Wolf: Bei einer Trauung
    18. Wolf: Selbstgeständnis
    19. Wolf: Abschied

    Christa Ludwig
    Walter Berry
    Gerald Moore (Piano)

  • Iphigénie en Aulide: Act I

    44:21

    Provided to YouTube by The Orchard Enterprises

    Iphigénie en Aulide: Act I · Vienna Philharmonic Orchestra · Vienna State Opera Chorus · Salzburg Festival Choir · Karl Böhm · Christoph Willibald Gluck · Walter Berry · Otto Edelmann · James King · Elisabeth Steiner · Inge Borkh

    Christoph Willibald Gluck: Iphigénie en Aulide (German version) (1961)

    ℗ 2013 Classical Moments

    Released on: 2013-04-30

    Auto-generated by YouTube.

  • Don Giovanni K527, Atto Primo, Scena quinta, Finale: Ecco il birbo che tha offesa!

    1:37

    Provided to YouTube by Warner Classics

    Don Giovanni K527, Atto Primo, Scena quinta, Finale: Ecco il birbo che t'ha offesa! · Nicolai Ghiaurov/Walter Berry/Claire Watson/Christa Ludwig/Nicolai Gedda/New Philharmonia Orchestra/Otto Klemperer

    Mozart: Don Giovanni

    ℗ 1966 Warner Classics, Warner Music UK Ltd Digital remastering (p) 1991 Warner Classics, Warner Music UK Ltd

    Lead Vocals: Nicolai Ghiaurov
    Lead Vocals: Walter Berry
    Lead Vocals: Claire Watson
    Soprano Vocals: Claire Watson
    Lead Vocals: Christa Ludwig
    Mezzo-soprano Vocals: Christa Ludwig
    Boy Soprano: Christa Ludwig
    Boy Soprano: Claire Watson
    Librettist: Lorenzo Da Ponte
    Lead Vocals: New Philharmonia Orchestra
    Orchestra: New Philharmonia Orchestra
    Vocals: Nicolai Gedda
    Bass: Nicolai Ghiaurov
    Lead Vocals: Otto Klemperer
    Conductor: Otto Klemperer
    Producer: Peter Andry
    Producer: Suvi Raj Grubb
    Bass: Walter Berry
    Composer: Wolfgang Amadeus Mozart

    Auto-generated by YouTube.

  • Wozzeck, Op. 7: Act I, Scene 1: Langsam Wozzeck, langsam!

    9:04

    Wozzeck, Op. 7: Act I, Scene 1: Langsam Wozzeck, langsam! · Pierre Boulez · Alban Berg · Paris National Opera Orchestra · Walter Berry · Marilyn Schmiege

    Berg: Wozzeck

    ℗ 1967 Sony Music Entertainment

    Released on: 2009-03-27

    Lyricist: Georg Büchner
    Producer: Thomas Z. Shepard

    Auto-generated by YouTube.

  • Norman Reinhardt sings Sterben wollt ich oft from Korngolds VIOLANTA – Teatro Regio Torino

    4:46

    Alfonso (Norman Reinhardt) relates the story of his unfulfilling life and admits his longing for death. Conducted by Pinchas Steinberg and directed by Pier Luigi Pizzi.

    Streamed on OperaVision on 28 February 2020 at 19:00 CET and available for 6 months:

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  • Humperdinck Haensel und Gretel André Cluytens

    1:46:43

    Haensel und Gretel by Engelbert Humperdinck
    Irmgard Seefried (Haensel)
    Anneliese Rothenberger (Gretel)
    Elisabeth Hoengen (Hexe)
    Grace Hoffmann (Mutter)
    Walter Berry (Vater)
    Lieselotte Maikl (Sandmann/Taumann)
    Wiener Sängerknaben (Kuchenkinder)
    Wiener Philharmoniker
    André Cluytens, conductor
    III.1964

  • 100 Greatest Singers: CHRISTA LUDWIG

    3:48

    THIS PROJECT IS RESERVED ONLY FOR THE GREATEST! German mezzosoprano Christa Ludwig rightly in this collection? Please comment!

    Christa Ludwig, Mezzo-soprano (born 1928)

    Georg Friedrich Haendel - Giulio Cesare
    V´adoro pupille - sung in german -
    (Recording date unknown so far)

    My personal opinion: A warm, tender and expressive voice, great musical ability, a winning stage presence, a pleasant nature plus general intelligent knowledge - Christa Ludwig got it all! She was one of germans best mezzo-sopranos. In 48 years of career she´d sung almost everything her voice was made for. And sometimes a little bit more - from baroque to Einem´s Besuch der alten Dame; from Mozart and Rossini to Bizet and Carmen, from Wagner to Strauss. No wonder conductors often invited her: Karl Böhm, Herbert von Karajan and Leonard Bernstein (don´t miss Candide with Ludwig´s tango here on YouTube!)
    Christa Ludwig: My mother always told me to be as simple as possible in everything one can do. I don´t like the manners of Mozart-style in the fiftys. Music, good music, is simple, it became complex with manners of performers. After the war, when I met Fischer-Dieskau, he was a common man, very simple. He possessed an incredible ingenious naivity, but then his art refined too much, he became Professor Dr. Lied.
    By the way a wonderful anecdote: A newsman question: Miss Ludwig, was it a privilege for you, after Rosenkavalier with Schwarzkopf and Karajan, recording Norma with Callas and Corelli? Ludwig: With Callas I had a very good understanding, she wasn´t the great diva, the diva was Corelli!
    Christa Ludwig´s first voice teacher was her mother, a mezzo-soprano who had sung under Karajan in Aachen (Ludwig: When I was six years old, I sat on Karajans knees). Christa Ludwig made her debut as Orlovsky 1946 at the age of 18 in Darmstadt, where she was a member until 1954. In 1955 she joined the Vienna State Opera, 1962 she was appointed Kammersängerin. At the Salzburg Festival she appeared there regularly until 1981. American debut was made in 1959 (Chicago), the same year she sang Cherubino at the Metropolitan Opera. In 1969 she came to Covent Garden as Amneris. From 1957 to 1970 she was married to Walter Berry.
    She expanded her repertory from lyric to dramatic roles, and in addition she regularly gave numerous recitals of Lieder. Ludwigs last performance was in Elektra in Vienna, 1994.
    I select Miss Ludwigs rendition of Cleopatra´s aria from Haendels Giulio Cesare and hope, you like it!

    THE COMPLETE OVERVIEW: GO TO ALL SINGERS IN THIS LIST

  • Interview with Annemarie Kremer who plays VIOLANTA at Teatro Regio Torino

    8:58

    'To young singers nowadays, I would say to always be loyal and true to yourself and to your own inner voice: let it speak through your singing voice. Be authentic and have your own personality. Don't try to look or sound like anybody else,' says the Dutch soprano Annemarie Kremer who plays the title role in Korngold’s second opera Violanta at Teatro Regio Torino.

    Streamed on OperaVision on 28 February 2020 at 19:00 CET and available for 6 months:

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