Sunday, 13 May 2018

Rachmaninoff - Piano Concerto No. 2, Op. 18 | Rubinstein

Arthur Rubinstein, piano; Chicago Symphony Orchestra, Fritz Reiner, cond. RCA/BMG, recorded Jan. 9, 1956 | I Moderato | II Adagio sostenuto | III Allegro scherzando

Friday, 20 April 2018

Friday, 4 October 2013

Object Lesson: The Steinway & Sons Model B Grand Piano

Composed of over 12,000 parts, "the perfect piano" takes over a year to create.

THE TELEGRAPH LUXURY: Read the article » | Bethan Ryder | Wednesday, September 25, 2013

Tuesday, 17 September 2013

Madame Butterfly – Maria Callas: Giacomo Puccini

Puccini's Opera ''Madame Butterfly'' by Maria Callas

Maria Callas (Greek: Μαρία Κάλλας) (December 2, 1923 September 16, 1977) was an American-born Greek soprano and one of the most renowned opera singers of the twentieth century. She combined an impressive bel canto technique with great dramatic gifts. An extremely versatile singer, her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini, and Rossini; further, to the works of Verdi and Puccini; and, in her early career, the music dramas of Wagner. Her remarkable musical and dramatic talents led to her being hailed as La Divina.

Born in New York City and raised by an overbearing mother, she received her musical education in Greece and established her career in Italy. Forced to deal with the exigencies of wartime poverty and with myopia that left her nearly blind on stage, she endured struggles and scandal over the course of her career. She turned herself from a heavy woman into a svelte and glamorous one after a mid-career weight loss, which might have contributed to her vocal decline and the premature end of her career. The press exulted in publicizing Callas's allegedly temperamental behavior, her supposed rivalry with Renata Tebaldi, and her love affair with Aristotle Onassis. Her dramatic life and personal tragedy have often overshadowed Callas the artist in the popular press. Her artistic achievements, however, were such that Leonard Bernstein called her "The Bible of Opera", and her influence so enduring that, in 2006, Opera News wrote of her, "Nearly thirty years after her death, she's still the definition of the diva as artist—and still one of classical music's best-selling vocalists."