Songtext von Thousand Foot Krutch - In My Room Lyrics
A list of lyrics, artists and songs that contain the term "red dress" - from the Sigue Sputnik) · Put on Your Best Dress: Sonia Pottinger's Rock Steady () · Devil Howard, poor boy Left me here to jump for joy Pretty little girl with a red dress . Login · Add new Lyrics · Add a new Album · Become an Editor · Meet the. Vocals that pierce the spirit and lyrics that leave the fans singing along. A little bit of . And I post your painted body on the four walls of my room. Because I Will you meet me there my love and walk that ribbon in the sky. Will you meet me. Pre-order it and learn m | Check out 'Sonia Rao: the new album 'Meet Them at the The feeling of aliveness I experienced made it clear to me that this was.
Next, Meluzzi had a season at Leghorn — where the naval base was — and in the winter of I sang Leonora in Favorita. But I watched and studied the part and it came off quite well. The American consul heard us, and came up with the idea to give a gala evening for the fleet which was coming in.
I greeted vice-admiral Wells as he stepped off the boat, and invited him and his crew to be our guests.
Sonia Calico Is Defining Dance Music For Taipei’s New Generation | The FADER
We sang scenes from operas and I sang some American songs, and it was great publicity for the company. I then went on singing in Italy doing whatever I could for three years.
- We need you!
- Sonia Calico Is Defining Dance Music For Taipei’s New Generation
- Wake Up Everybody (song)
By this time five years had gone by and it was the spring ofand we knew it was time to come home. I had been supposed to sing Ulrica, but due to intrigue — a new singer paid the manager to sing in my place — I had a couple months free.
This coach wanted me to stay and told me I could get engagements, but we had no money and were supposed to come home, so we did. I had sung for Gatti-Cazzaza [General Manager of La Scalaand the Met ] and he liked my voice, but he already had three altos and the Chicago Opera had three and the San Carlo Company was already booked for the season. We were living then in New York with friends who had lived with us in Italy.
There was no opera for me, so I went to a coach to learn more songs and to get concerts together. This was October of She was a tall, radiant and blonde, and I was tall and black-haired. We worked together on the Waltraute scene and she got very excited. I lied and said I knew a part of it, so he told me to come with the first act the next day. So I immediately got the score and coached it with Zoller, and the next day I sang it for Knoch, and he said it was written for me! Knoch told me to meet Mr.
Huork [also in photo above], who was the manager for all the American singers. So I was to be the alternate for the company. The performances were to begin in January ofso I had three months to learn all of this material. With all of this new material to learn, I had the good judgment to call the stage director of the Metropolitan Opera. They were starting rehearsals for their own season, and I told him who I was and what I was engaged to do, and asked for some private lessons.
He was very nice to me, but said he was very busy. But his son, Von Wymetal, Jr. I think I was numb! The Isolde was Johanna Gadski [shown in the box below], who was re-entering after ten years of being away. She had been the top Wagnerian singer, but she was paralyzed with fear. But she did all right.
One reviewer said that I had a very pleasant voice, but lamented that I looked at the conductor all evening! By the end of the week I had sung all the other roles I would do on the tour, and Isaacson said in his review that Sharnova would go ahead. This was great praise, and I got good reviews as we went on. The next city was Philadelphia and I did the matinee on Saturday. I was still nervous, but the reviews got better, and Mr. Hurok who was taking over the whole managership then re-engaged me for the following year.
We had a wonderful press-agent who went ahead and arranged lectures in each of the cities before our arrival. In each place we gave a week of opera. Oh, these were exciting performances, really exciting, and we were re-engaged for Johanna Gadski was born in Anklam, Prussia inand studied singing with Mme.
She gained valuable experience singing in provincial German opera houses, returning to the Kroll in In she began to expand her career internationally, touring Holland and the United States. Further appearances with Damrosch took place in In Gadski left the Met for two seasons, giving extensive concert tours in the United States during and It was during this period that she studied the role of Isolde with Lilli Lehmann.
She also sang Pamina inLehmann performing as the First Lady. Upon her return to the Metropolitan Opera, she sang her first Isolde on 15 February Gadski's career at the Met lasted until From 13 Aprilthe date of Gadski's last performance at the Met as Isolde to 28 Novemberno performances there were sung in German. The few Wagnerian operas performed, beginning inwere sung in English.
Johanna Gadski returned to the United States inunder the auspices of Sol Hurok, for a series of Wagnerian concerts. They toured ten cities, including Philadelphia and Chicago.
InHurok once again formed a company starring Gadski, and expanded the repertory. The tours took place from to Gadski formed her own company and appeared in She planned to return to the United States for yet another tour inbut died early that year in an automobile accident.
What kind of auditoriums were you in on these tours? We toured in every kind of hall. How big an orchestra did you carry with you? I remember writing to someone at that time about what an expense it was to carry such a big company as ours. During the tour, how were the performances received, especially in out-of-the-way places?
That second year was a fabulous tour. The people were prepared and the houses were filled. We were feted like royalty everywhere. How did you do the various scenes back then?
He said I really knew what to do in that scene of changing the potion in Act I. We had a simple but effective staging. You have to do it in time of certain measures. Then I brought up the love potion and poured that into the cup. When she called for me I was ready with it, and then I had to look back and be horrified about what I had done.
I wrote to that critic asking for advice and he referred me to a man at the New York Public Library. I found a book which was a psychiatric study of Wagnerian heroines. It analyzed the roles and did me a lot of good. How did they manage the Erda scene in Siegfried? There was a big rock and it was all dark. Nobody would ever dream there was anyone there, and suddenly there was a light on my face.
It was all very well coordinated. Oh yes, up and down and everything. They had spears and looked like they were riding horses.
They also had helmets and shields. Was it cumbersome with all that armor? Tell me about some of the other highlights of your fascinating career. I sang the Warning from backstage, and an assistant conductor would be up on a ladder looking through a hole in the scenery. He would watch the conductor and give me my cues. When Longone had the company here in Chicago in the 30s and 40s, I did lots of roles in German and French and Italian.
I had done Ortrud in Cincinnati the year after Insull had closed the opera here in Chicago. One performance here [January 15, ] was with Jeritza, but she was ill and did not attend the rehearsals. I met her on-stage during the performance! In the second act, Ortrud falls on her knees humbled before Elsa, and she is supposed to raise Ortrud to show her feelings for her. But this night, Jeritza put her hands on my shoulders and held me down on the floor.
I knew I had to be up and so I broke her hold and flung my arms out wildly. She was stunned by it. It was the German vowels and the characters.
Still I Rise
The characters made my voice become what it was. It was the continuity and the care that helped it so very much. When we were on tour, we did everything carefully — eating, sleeping, everything.
Hurok saw to it that we took care of ourselves. After I stopped singing so regularly, my voice went down and I never sang like that again. How often did you sing during your prime? On tour it was at least three times a week.
Some weeks I was in the smaller roles, but others I was the leading mezzo. She was quite interested in me, and I still correspond with Edwin McArthur. Flagstad came out for the second act and was ready for the battle cry, and I was there ready for my entrance which followed hers.
At that time, there had been no opera in Chicago for a while, and our costumes were dirty from being in the trunks. The wardrobe mistress was attending to the Valkyries and had no time for me right then. So I went up and found the trunk and got the other mantle, and when I came back to my dressing room, Flagstad was waiting for me, not concerned with her own entrance, but concerned that I should look regal.
She helped me into it and got it pinned correctly. And with that I flung the mantle around and turned on my heel for my exit, and as I walked off, I got applause! Fricka, the nagging wife got open applause! That was a great evening.
How do the singers of that era compare with the singers of today? What shall I say? How can they be practicing? How can they be singing right? Singers in former years stayed in one place longer, and if they went anywhere else, they went on a boat! That way we had a chance to relax and think about the roles and about ourselves.
Tell me about modern opera. Reviews of both of these operas appear farther down on this webpage. The music never interferes with the play. The opera was such a hit that it opened the following season [October 31, ] and was repeated a week later. Rosa Raisa had some of the most effective singing and acting of her career. I, myself, have never sung in any of them [meaning ultra-modern scores]. There must be some value to them.
Maybe through it all something may come of it. It takes an extremely good musician to deal with the complexities of this new stuff, and you must know your voice. Which is more importantthe words or the music?
In studying and talking with my pupils, I tell them to get those words first and then do the music. InLotte Lehmann was here for some concerts, and I worked with her for five weeks on Lieder.
I had always sung so intuitively and gotten good reviews, but to teach it I needed to understand the mechanics as well as the interpretations. Lehmann liked my work. She and I wept at the same things, and I responded to her moods. She wrote me many letters and said I should do more tours and sing more Lieder. Are you optimistic about the future of opera in this country?
Every city must have opera, but they have problems raising money. A lot more people are working very seriously in the arts. Universities have their classes and develop the talent. Carol Fox [one of the Founders of Lyric Opera in ] was courageous. Look at what she has accomplished. But she did send a lot of American singers away. She favors the Italians very much. Ardis Krainik [General Director of Lyric ] is strong and has had lots of experience. But it does throw things out of line.
The man is a performer and I am too! Reviews and programs of some of the performances in which Sonia Sharnova appeared, beginning with her debut. What follows is the collection of biographies and photos of artists mentioned in the article above. She was one of the best-known operatic singers of the early 20th century with her gramophone records selling in large numbers. She was born as Amelita Galli into an upper-middle-class family in Milan, where she studied piano at the Milan Conservatory, winning a gold medal and at the age of 16 was offered a position as a "professor" or teacher there.
She was inspired to sing by her grandmother. Operatic composer Pietro Mascagni also encouraged Galli-Curci's singing ambitions.
By her own choice, Galli-Curci's voice was largely self-trained. She honed her technique by listening to other sopranos, reading old singing-method books, and doing piano exercises with her voice instead of using a keyboard. Galli-Curci made her operatic debut in at Trani, as Gilda in Giuseppe Verdi's Rigoletto, and she rapidly became acclaimed throughout Italy for the sweetness and agility of her voice and her captivating musical interpretations.
She was seen by many critics as an antidote to the host of squally, verismo-oriented sopranos then populating Italian opera houses.
The soprano had toured widely in Europe including appearances in Russia in and South America. These were to be her only appearances in opera with the great tenor, though they later appeared in concert and made a few recordings together. Galli-Curci arrived in the United States in as a virtual unknown.
Her stay was intended to be brief, but the acclaim she received for her performance as Gilda in Rigoletto in Chicago on November 18, her 34th birthday was so wildly enthusiastic that she accepted an offer to remain with the Chicago Opera Company. She was a member of the company until the end of the season. Also inGalli-Curci signed a recording contract with the Victor Talking Machine Company and recorded exclusively for the company until She remained with the Met until her retirement from the operatic stage nine years later.
She also sang in Great Britain, appearing in 20 cities during a tour, and visited Australia a year later for a series of recitals. Galli-Curci built and maintained an estate called Sul Monte in Highmount, New York, where she summered for many years until she sold the estate in In the nearby village of Margaretville a theater was erected and named in her honor.
She returned the favor by performing there on its opening night. Weary of opera house politics and convinced that opera was a dying art form, Galli-Curci retired from the operatic stage in January to concentrate instead on concert performances. Throat problems and the uncertain pitching of top notes had plagued her for several years and she underwent surgery in for the removal of a thyroid goiter. Great care was taken during her surgery, which was performed under local anesthesia; however, her voice suffered following the surgery.
A nerve to her larynx, the external branch of the superior laryngeal nerve, is thought to have been damaged, resulting in the loss of her ability to sing high pitches. This nerve has since become known as the "nerve of Galli-Curci. They divorced in The following year, she married Homer Samuels, her accompanist. The Marchese Curci petitioned the papal council in Rome for an annulment of the marriage in Galli-Curci was a student of the Indian meditation and yoga teacher Paramahansa Yogananda. She wrote the foreword to Yogananda's book Whispers from Eternity.
Anytime is a good time to remember Rosa Ponselle, even if you never heard her in person or listened to one of her extraordinary recordings. For it was she who unwittingly championed the American born and trained singer. Of course, there had been Americans on the roster of the Metropolitan Opera from its first season inbut before Ponselle there had been no leading singer who had not first made his or her mark abroad.
In contrast, the Met was the first operatic stage on which she appeared, and her performances outside the United States were few. While it lacks a thriving underground dance music culture of its own, Taipei is an open space in which artists are able to forge tight friendships based on the relative rarity of finding like-minded creators. As a result, Calico has collaborated with producers across Taipei some of whom she's released on her label UnderUas well as in Beijing, Tokyo, and further afield.
Together, this network of artists form a sonic map that speaks to an aesthetic that's distinct from western dance music. Over 20 years later, Calico understands cultural identity continues to be a balancing act: The breakbeat track launches with a Mandarin verse featuring the rapper Poetek, and throws piano notes at the listener like stalagmites to be dodged on the dance floor. It's a translation of a Chinese proverb that encourages the pursuit of one's passion, and feels especially poignant given that Taiwan is on the cusp of becoming the first East Asian country to legalize gay marriage.
I was into U. They kind of fuse old school breakbeat with U. The first verse [is in] Mandarin. Every time we work together he always raps so much. I said I only wanted three words from [him] but then he still recorded a whole verse for me. But it applies to everything, you know? Do you know Ang Lee? I made [the track] pretty juicy and romantic, so I felt like, oh I need a Japanese, very cliche drama to feel the track. I felt like maybe I should try to dig [into] something actually from my memory.
Taiwan is [about] mainstream music, they always follow the wave [and] how the pop music world is.