http://news.ft.com/cms/s/3c803b5c-4ffd-11da-8b72-0000779e2340.html
Year: 2005
Hear My Prayer
This anthology, a twentieth-anniversary commemoration of Aled Jonesí first recording for the Welsh company, Sain, is a re-issue of that 1983 recording, ìDiolch ‚ Ch‚n,î along with several other tracks from the mid-1980ís. Jones stepped out of the choir stalls at Bangor Cathedral to become a highly marketed treble, and his relative celebrity, as attested here, was well deserved.
Glossy triumph of empty style
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2005/11/07/bmbutterfly07.xml&sSheet=/arts/2005/11/07/ixartleft.html
Madam Butterfly at Coliseum, London
http://www.guardian.co.uk/arts/reviews/story/0,11712,1635732,00.html
Why Shouldn’t Men Sing Romantic Drivel, Too?
http://www.nytimes.com/2005/11/06/arts/music/06gure.html
La Forza del Destino War Memorial, San Francisco
http://news.ft.com/cms/s/4f790524-4f33-11da-9947-0000779e2340.html
Madam Butterfly English National Opera London
http://news.ft.com/cms/s/19d06fb6-4f33-11da-9947-0000779e2340.html
MÈthodes & TraitÈs, series II: France 1800-1860 (Les grandes mÈthodes romantiques de chant), Vol. IV
As far back as the Middle Ages, students (often only identified as Anonymous) have recorded the methods of performance imparted by their masters. In later centuries, such illustrious teachers wrote and published their own methods.
RIGHINI: Il Convitato di Pietra (The Stone Guest)
Born in Bologna on January 22, 1756, Righiniís musical career started early when he was a choirboy at San Petronio. When he was nineteen, Righini made his professional singing debut as a tenor in Parma, and one year later he joined the Bustelli Opera in Prague.