כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE
To restore the song in the original language if it does not appear after clicking on the name of the song marked here with a bottom line or to find additional versions Copy/Paste the song name in the original language from this page to the YOUTUBE website
התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.
Musical History is a feature film, comedy. Leningrad taxi driver Petya Govorkov is a nugget with a wonderful voice by nature. But only his passengers and neighbors in the communal apartment can appreciate his vocal data. Petya meets the head of the opera studio in the transport club Vasily the Great. They are preparing a production of the opera Eugene Onegin, where Govorkov is to sing Lensky's part. Before the premiere, Petya survived a quarrel with his girlfriend and fails. Govorkov has a lot to go through to believe in himself and become a real opera singer...
Musical biographical film about the great singer Enrico Caruso, based on the book of his wife Dorothy Caruso. On February 27, 1873, Anna and Marcelino' Neapolitans had a son named Enrico ("King of the House"). Unlike other children, Enrico had a natural gift of singing, and the local priest tried as much as possible to develop the ability of the child. When Enrico grew up, he often earned singing in the streets and in restaurants. But, falling in love with the daughter of a merchant Musetta, was forced to leave the singing and engage in the flour trade. But Enrico's voice has already become known in the local opera, and began his triumphant march to worldwide fame. The film is built on alternating game episodes "from life" and performances of the singer at concerts, performances.
The Illness and Death of Enrico Caruso (1873-1921): A Medical Chorus Out of Tune? Marco Cascella, Journal of Religion and Health volume 55, pages217-225 (2016). Abstract. The Italian opera singer Enrico Caruso is considered by many people the most famous opera singer of all time or “The Matchless Singer” for his unique and suggestive vocal timber. Although a man of humble origins, he managed to rise from poverty, thanks to his extraordinary intelligence and determination. From his debut in 1895 in Naples, until December 24, 1920, the tenor had a brilliant career with many performances and over 500 songs in his repertoire. This intense lifestyle went on until 1919, when the fortune that had always accompanied him began to fade and he entered a fast “descending parable.” In this study, we analyze Caruso’s medical history during his last year of life: Through the study of the newspapers from the period and the statements reported on the tenor’s many biographies, we tried to offer a detailed evaluation of the complex pathogenic chain of events that led to his death, impeding him from keeping to alleviate the heart-breaking nostalgia of many emigrants that felt in his singing the warmth of a too distant land. The Matchless Singer. “I feel great. I hope I will recover completely in a short time.” This is what Enrico Caruso telegraphed from Sorrento to the treasurer of the Metropolitan Opera a few days before his death. The Italian opera singer Enrico Caruso is considered by many people the most famous lyric singer of all time or “The Matchless singer” for his unique and suggestive vocal timber. Many biographies show the profile of an eclectic character who, as an emigrant, sang and remembered the homeland to those Italians who, at the beginning of the twentieth century, had chosen to seek fortune in the new world. Caruso, of humble origins, managed to emerge from a reality of poverty, thanks to his extraordinary intelligence and determination. While he was aware of some of the limits of his singing, he worked on them, sometimes as self-taught. With great effort, he came to develop a personal vocal technique that, after correcting some mistakes in the beginning, eventually enabled him to master all of the main operas. Since his debut in 1895 in Naples, until December 24, 1920, the tenor had a brilliant career with many performances and a repertoire of more than 500 songs. If today we can still enjoy his voice, we owe it also to his lungimiranza and managerial instincts. Unlike other artists who had refused to entrust their voices to a “vulgar instrument,” he showed interest in “new technology, becoming the first singer to take advantage of the profitable potential of the phonographic record: The 78 rpm disk of Vesti la giubba from the opera Pagliacci was the first record in history to sell one million copies, in 1904. This intense life with record-breaking earnings, nonstop touring abroad and two weddings, of which the first was remarkably troubled and the second, in 1918, with Dorothy Benjamin (1883–1955), an aristocratic woman from New York who was 20 years younger, carried on until 1919. Then the fate that had always accompanied him started to leave him, and he, as stated by his second wife, entered a “descending parable.” Onset of the Disease. Caruso’s health conditions started to worsen as early as the autumn of 1919. During a Mexican tour, he started suffering from continuous, violent migraines, localized to the neck area, that, as he wrote in several telegrams to his wife, prevented him from sleeping and brought him considerable stress: “Imagine that during night I had idea to cut my neck and let go out the blood” (Fabricant 1960). In the same telegrams, he referred to an annoying pharyngitis and how this state of discomfort was restricting his singing performance. As stated by himself: “I went to the teathre in a very bad condition … No breath, a ball in the stomach, all the nerves from the nose to the neck are attacked. On top of the head I feel if there were a continuous laightning (lightning). My eyes are swolled(n) and very (h)eavy.” By the end of 1920, his conditions had noticeably worsened: The migraine was still oppressing him and was soon reached by respiratory problems that forced the tenor to seek the cures of many specialists. Among the various physicians that appear in the troubled events of Caruso’s last year of life stands out the figure of Dr. Philip Horowitz, who had been his personal doctor for several years. Most probably, Dr. Horowitz recurred to quack therapies, making the tenor undergo many continuous, stressful procedures, as stated by his wife Dorothy: “I had seen him give Enrico ridiculous treatments.” A key episode, albeit less considered by the doctors who had taken care of Caruso from December 1920 until his death, was an accident that happened during Sansone and Dalila, on December 3, when the tenor was hit on his left side by a column that fells from the scenery. This accident was reported by the print and was also well remembered by his son, Enrico Jr. (1904-1987).Caruso’s respiratory symptoms manifested in an aggravating way with pain in the left hemitorax and implacable coughing. Actually, the therapy consisted of an increasing in the “ridiculous treatments,” where his chest was wrapped with bandages that did nothing for the pain and, on top of that, limited his breathing. On December 8, 1920, during a performance of Pagliacci at the Metropolitan Theater, the artist was stroke by an intense pain in his side followed by excessive coughing: When he began to sing the aria Vesti la giubba, his voice broke and the opera was interrupted for 20 min. His doctor stated that it was a case of intercostal neuralgia, secondary to the migraine, and applied adhesive bandages to the chest of his famous patient. During the following days, Caruso’s health condition kept getting worse, but he did not interrupt his concert schedule and on December 11, in Brooklin, Elisir d’amore was suspended because of a bleeding in the oral cavity: His doctor said that it was due to a rupture of a blood vessel at the base of his tongue, caused by excessive stress. The chest pain became unbearable, and in spite of reassurance by his personal doctor, Caruso began to suspect the effectiveness of the cures administered to him. In a letter addressed to his brother Giovanni, he wrote: “This made me worry in spite of seeing the doctor every day who told me it was nothing” (Robinson 1957). His wife Dorothy called Dr. Evan Evans from New York who, after consulting three more physicians, diagnosed a pleurisy with added complications from pneumonia and had the sputum analyzed in Columbia University. Microbiological exams proved positive for pneumococcal infection. This time, his health conditions forced him to cancel all his concert, but Caruso did not keep from singing on Christmas Eve at the Metropolitan: La Juive would have been his last appearance on stage, a superb performance! Starting the day after Christmas, Caruso’s health rapidly deteriorated: The tenor was always febbricitante and dyspneic. The Metropolitan circulated a bulletin, stating that a team of five doctors (Dr Samuel Lambert, Dr Philip Horowitz, Dr Evan Evans, Dr Antonio Stella and Dr Francis Murray) had posed a diagnosis for pleurisy and considered the illness to be painful but not exceptionally serious. This bulletin did not fully reflect Caruso’s clinical conditions, and upon insistence by his wife, Professor John F. Erdmann was summoned from Columbia University, who eventually decided to apply surgical drainage to the purulent deposit. The procedure was carried on in a suite of the Vanderbilt Hotel, turned into an operation room for the occasion. Caruso’s temperature went down almost immediately, and he was better until the beginning of February 1921, when the fever and the pain came back, and the doctors confirmed the purulent deposit to be back, raising the need for a new intervention. The new operation took place on February 12, 1921, and made necessary to execute a partial costal resection. Once again, Caruso’s conditions went better, but the chest X-ray exams showed an atelectasis of the left lung and, simultaneously, the tenor began to perceive paresthesia in his right hand that complicated overtime with atrophy on the hand muscle, likely due to a lesion in the brachial plexus. The collection of abscessual fluid formed once again, this time including the subcutaneous tissue along the side, and Caruso had to undergo a series of five more drainages, together with several transfusions. The clinical information on the atrophy of the right hand is confirmed by the rehabilitation therapies made by the tenor during his subsequent stay in Italy. By observing the last photos of the singer, dated a few days before his death, we can deduce that he was not applying any weight on the right hand and was helping his wife carry their daughter Gloria (1919-1999) with the left one. How did the lesion form, contralateral to the drainage site? It is intuitive to suppose the lesion to be iatrogenic. We know that traumas in the brachial plexus are formed by both supraclavicular and subclavian lesions, and also via the armpit. Probably, the doctors speculated that the purulent collection was also present in the right hemitorax and, in an ill-fated attempt to drain it, produced the lesion through an upper lateral access on the anterior or median axillary line. Therefore, the resulting type of damage, strictly concerning the hand, is indicative of a lower lesion of the brachial plexus. Caruso in Sorrento. Caruso decided to stay in Italy for his recovery: Thanks to the favorable weather conditions of his birthplace, he was sure he would have rested well and recovered fast. On June 10, 1921, the Caruso family, after a long trip on board of the ship “President Wilson,” reached Naples, and after a few days, there was total chaos in the Tramontano Hotel in Sorrento: Rumors about the arrival of the tenor soon spread out, and many journalists, authorities and meddlers had crowded the place, and soon the newspapers wrote that “Caruso showed improvement, his native air having a beneficial effect.” He took up swimming, rested a lot and practised physiotherapy on his hand, while exposing the four wounds on his side to the sunlight in the meantime. This was not the best organized rehabilitation schedule, but proved fairly efficient. To a reporter of the Chicago Tribune, Caruso confessed that no doctors were following his program: “I have no doctor. I take care of myself.” Some people even reported that during a lunch, Caruso performed some amazing loud notes from his chest to announce his complete healing, to the ecstasy of all of the customers in the restaurant. His well-being was also showing in some of his last photos. However, both the discomfort and the left side pain came back in the blink of an eye. According to Noah D. Fabricant, who admitted to have taken inspiration from Robert W. Prichard’s studies (Prichard 1959), Caruso’s entourage had great difficulties in finding a doctor quickly, until one showed up after some hours to administer narcotics for the pain. From the newspaper chronicles, we know instead that many doctors were called from Naples, including the future Catholic Saint, Giuseppe Moscati (1880-1927). The meeting of two of the most important Italian figures of the twentieth century is not reported on the tenor’s biographies, but has been recently remembered by Giovanni Ponti and Aldo Tomasi in an article for the Journal of Medical Biography (Ponti and Tomasi 2014). Moreover, this episode was recalled in 1956 by Enrico Polichetti, an apprentice of Giuseppe Moscati: “Towards the end of July 1921, in the Tramontano Hotel in Sorrento, professor Moscati visited Enrico Caruso for the first time-the singer had already undergone several procedures for purulent pleuritis in America without recovering-and diagnosed a subphrenic abscess, not previously noticed, and confirmed by an extraction of pus from a needle in the sub-diaphragmatic space” (Polichetti 1956). Polichetti added that “Moscati had found the patient in a deep, deteriorated state, showing a worrying septic status, leaving nothing much left to do.” After the visit from Dr. Moscati, the brothers Raffaele (1863-1961) and Giuseppe Bastianelli (1862-1959) who were among the most famous Italian doctors of that time0were consulted from Rome. Their verdict confirmed that of Moscati: an abscess that had probably hit the left kidney. Therefore, the tenor needed an X-ray exam to be taken in Rome, followed by with a possible left nephrectomy. Regardless of the strong pain, Caruso’s clinical conditions did not seem urgent to the two doctors, so the singer waited for 3 days before leaving for Rome. The Last Moments. The timeline of the last moments of Caruso’s life is well documented by the newspapers of that time. Several details, many of which went unnoticed by the tenor’s biographers, are shared by the Italian newspaper La Stampa of Torino. Caruso arrived in Naples on the night of August 1, and the next morning he prepared his trip to Rome, where the Bastianelli brothers were waiting for him. In a few hours, his clinical status rapidly worsened: The pain was unbearable, and along with a high fever, he started to get dyspneic and cyanotic. He was reached in the hotel by Professor Giacomo Cicconardi, who prescribed him a purgant after proceeding to make a caffeine injection. Obviously, the tenor did not get better, and a call was made for Professor Antonio Cardarelli (1831-1927), who was not able to get there, so several other important doctors from the city were called, namely, Professors Gaetano Sorge, Raffaele Chiarolanza, Gaetano Sodo and Giuseppe Moscati (who already knew the patient), all of whom had reached the hotel by 21. After consulting, they agreed upon a diagnosis of subphrenic abscess with septic peritonitic phenomena and deep heart damage. Caruso’s state looked acute, and he was dyspneic and showed a weak pulse: None of the doctors left him even a glimmer of hope. They suggested letting the night pass-during which they would have administered oxygen and camphor oil-and trying a life-saving intervention on the following morning. Caruso went through the night with unspeakable agitation. At 5 a.m., he said his last words “I’m not rising up this time…it is over!” At 7 a.m., the doctors arrived, to try the operation, but they established that Caruso’s condition could not make the intervention possible. At 9.07 a.m., surrounded by grieving people, he ceased to live.
THE ART SONGS OF MIKHAIL IVANOVICH GLINKA by Elise Renée Read Anderson. Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2020. THE ART SONGS OF MIKHAIL IVANOVICH GLINKA Mikhail Ivanovich Glinka has long held the title of “Father of Russian Music,” and “Founder of Russia’s National School of Composers” in western scholarship. Nestor Kukolnik, who had helped Glinka write parts of the libretto for A Life for the Tsar, fitted his own words to a piano bolero Glinka had written, resulting in, “Ах ты, душечка, красна девицка” (O My Sweet, Beautiful Maid). Ах ты, душечка, красна девицка (Ah, My Sweet, Beautiful Maiden) Poet: Folksong text Key: G Minor Tempo: Con moto Time Signature: 3/4 Length: 1 page Accompanist Level: Easy Voice Level: Easy Composition Date: 1826 Composition Location: Novospasskoye near Smolensk, Russia Range: F♯4-F5 Tessitura: Mid-High Voice Language: Russian Historical Background: It appears that Glinka may have written the text for this piece, which utilizes phrases and inflections found in authentic Russian folksong. 1 Poetic Summary: Oh beautiful maiden, do not wait under the window with your candle burning. Musical Summary: Through composed. The piano part is extremely simple, mainly sustained chords. The vocal part is declamatory at first, but little melismatic flourishes are added halfway through the piece to create a pleasant contrast. Good breath support is required, as the vocalist is given no rests in-between phrases to take more than a catch breath.
Nestor Vasilievich Kukolnik (Russian: Нестор Васильевич Кукольник) (1809–1868) was a Russian playwright and prose writer of Carpatho-Rusyn origin. Immensely popular during the early part of his career, his works were subsequently dismissed as sententious and sentimental. Today, he is best remembered for having contributed to the libretto of the first Russian opera, A Life for the Tsar by Mikhail Glinka. Glinka also set many of his lyrics to music.
Oh, my dear, you are a beautiful girl. Glinka, Folk words Music by M. Glinka. Oh, my dear, Beautiful girl, Don't sit at night Under the window, You don't burn candles For the ardent wax, You don't wait for yourself, Dear friend, You don't wait for yourself, Dear friend, You don't wait.
Pyotr Vasilievich Kireevsky (23 February 1808 in Dolbino, Kaluga Governorate – 6 November 1856) was a Russian folklorist and philologist many of whose materials remain unpublished to this day. Kireevsky was an ardent Slavophile like his elder and more famous brother Ivan Vasilievich (although Schelling thought Pyotr the more original of the two). He spent his entire life collecting folk songs and lyrics. Some of these were contributed by Alexander Pushkin, Nikolai Gogol, Aleksey Koltsov, and Vladimir Dahl. During his lifetime, Kireevsky printed only the first volume of his collection, containing "spiritual lyrics". Ten other volumes were brought out posthumously, between 1860 and 1874, under the supervision of Pyotr Bessonov. Another anthology was published in 1911; it was used by Igor Stravinsky to arrange his libretto for the ballet Les Noces (first performed in 1923). Oh you sweetie, Material from Wikisource, the free library. “Oh, you, darling, a beautiful girl ...” author: Russian folk song. Source: 1. Cyrus II-2 1929. - S. 196 2. RNP Az. Ivanov, 1966, p. 263-4. Editions [ edit ] Songs collected by P. V. Kireevsky. New episode. II, part 2, M. 1929 Russian folk songs. Comp. Az. Ivanov: M., L. Music, 1966.
Oh, darling/Kir II-2 (CO). Material from Wikisource, the free library. < Oh you, darling.
“Oh, you, my dear, beautiful girl! ..” author Russian folk song. Source: Cyrus II-2 1929. - P. 196 [1] In the section: Non- ritual songs of the Simbirsk province: Syzran district, Golovino village / Delivered and recorded by P. M. Yazykov, Editions. 2410(3). Oh, you sweet little girl! You don't know anything, you don't know, You broke my white chest, - I was captivated by your beauty. Ah, did you remember, my dear, How it was in our new room:
The soul of a beautiful girl sits, She cries like a river flows, A good fellow stands in front of her, Kissed her white hands, Kissing began to say goodbye: “Forgive me, mother, forgive my life, forgive my life, do not forget me!“ Notes [ edit ] ↑ “Oh, you, dear little girl! ..” / The song was delivered and recorded by P. M. Yazykov // // Songs collected by P. V. Kireevsky. New Series / Ed. O-vom lovers of Russia. literature at the 1st Moscow. university; Ed. honorary member of the O-va acad. M. N. Speransky - Vol. II, part 2. - Moscow: Printing house of the Cooperative "Science and Education", 1929. - XI. - S. 196.
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