Peter Schram - The FIRST recording of an opera singer (1889) - Leporello aria excerpts скачать в хорошем качестве

Peter Schram - The FIRST recording of an opera singer (1889) - Leporello aria excerpts

This recording of Peter Nicholas Schram (1819-1895), Danish bass, in the very first recording of an opera singer in the history of recorded sound. Here he sings, in Danish, excerpts of Leporello's arias from Mozart's Don Giovanni. This recording is significant because: Schram is the oldest-born operatic singer ever recorded, being born just 28 years after Mozart's death. Schram's first teacher was Italian tenor Giuseppe Siboni, who was born in 1780, studied under castrato Sebastiano Folicaldi, and debuted in 1797 at age 17. Schram was also a student of the eminent 19th century vocal pedagogue Manuel Garcia. The only other Garcia student whose voice was recorded was English baritone Charles Santley. The various ornaments and style used here would likely have been taught to him by Garcia, who sang the role of Leporello in the first Italian-language performances of Don Giovanni in America—at the behest of an originating source: its librettist Lorenzo da Ponte, who was himself in the audience. Leporello was considered Schram's greatest role. On his 70th birthday, he sang his farewell performance, as Leporello, in the Royal Danish Opera gala presentation of Don Giovanni. That evening he was celebrated at a party at the home of Consul Gottfried Ruben, an industrialist was an early adopter of the cylinder machine and was Edison's representative in Denmark. Schram indulged Rubens and recorded on the device, which must've seemed like a toy—even more so, as the party's guest were likely in a jovial, tipsy mood. ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): https://bit.ly/2W4qmE3