Label: Philips - 422 919-2 • Series: Philips Digital Classics • Format: CD Compilation • Country: Germany • Genre: Non-Music, Classical • Style: Classical, Technical
Sign In. Edit Gaston Rivero. Showing all items. Edit page. Share this page:. Clear your history. Uno tiene que saber cuantas funciones puede cantar durante una temporada, y uno tiene que conocer sus propias limitaciones. August 1by: www. Bravissimo l'architetto che l'ha progettata. Questi romani non scherzavano e sapevano molto bene cosa fare Come mai questa chiamata da Verona? Un colpo fortuito del mio agente che aveva notizie di primo pelo e me le ha sottoposte subito. Avevo qualche data libera, chiedevano un Radames di esperienza, e allora come rinunciare all'Arena?
Una chiamata che mi ha fatto un immenso piacere Da che successi arriva? Ho fatte tante Aide, anche con la mia partner dell'Arena, Monica Zanettin: una giovane di grande valore. Che tipo strano, in definitiva. Un gioco di potere alle sue Talking Bout My Baby - Fatboy Slim - Halfway Between The Gutter And The Stars e lui non se ne accorge e finisce male.
Peccato Quando ha iniziato col canto? I miei nonni paterni e materni erano siciliani. Cos'ha di speciale un tenore? Sapere dove va la sua voce. Quindi tanta tecnica. Ma se ti manca la tecnica How did Allegro Ma Non Tanto - Various - High-Tech Chöre happen?
Back in Argentina was a very insecure place due to the dictatorship. Over Due to that awful situation my parents decided to have most of their children in Uruguay. They were Uruguayans and had a lot of family in that country. So some of us are Uruguayans some Argentinians but both countries join very similar cultures and the same language so with the exception of futboll games soccer we were always very united.
We grow up basically in Argentina because my father worked at Teatro Colon in Buenos Aires since back in the 60's. There are still Caution (Do Not Stop On Tracks) - Grateful Dead* - Dicks Picks Volume Twenty-Two: Kings Beach Bowl, recordings of his Il Trovatore, Madame ButterflyI PagliacciUn ballo in Maschera and Beethoven Symphony 9 conducted by Piero Gamba, for sure stuff difficult to Baby Blue - George Baker Selection - Single Hit Collection online these days but we have in the family some of those old recordings.
You have five siblings who are active in other professions. Was your father the only musician in the family? My brother started as a trumpet player and one of my sisters studied piano for several years, but the two most renowned musicians in Allegro Ma Non Tanto - Various - High-Tech Chöre family were my half uncle the conductor Michelangelo Veltriknown for working and making several recordings with Alfredo Kraus and many other famous singers.
He was also a close friend of my teacher and coach Eugene Kohn. I was never much in contact with this half uncle but my father and him spend a lot of time working together at Teatro Colon. The other great musician to mention is my grandfather from my mother side Ramon Olivera. He and his cousins were all first class musicians, mostly violinist. My grandfather was the first violin in several orchestras in South America including Teatro Solis of Montevideo during the golden days from the 30's to the 70's.
The Allegro Ma Non Tanto - Various - High-Tech Chöre break he made during his career it came when he was called by the French resistance during War World 2 and joined the army leaving Montevideo back in the 40's for a period. Upon his returned to south america he heritage an Stradivarius from his own uncle, who was also a prestigious violinist, married to a german pianist.
My grandfather was the only man I knew in this life that possessed an instrument of this level. Unfortunately during his last days he remarried and then we lost trace of that valuable instrument. It was a huge lost in my family, not because of the monetary value but simple because of the symbolism. This kind of instruments should never be sold, they should stay forever in the family until another prodigious child can take advantage of it.
The only period I wanted to have another profession it was when I was 6 years old when I wanted to be a detective or criminologist. Besides those very early years, Opera was and is my life. At 11 I was extremely connected to the Puccini's repertory. I listened to Opera at least 1 hour a day, and at 14 I was in the Conservatory of Music following an Opera career.
I never imagined myself doing anything else, my target was to be a Tenor and Opera singer and follow that profession against all odds.
Unfortunately that brought me a lot of discomfort in the eyes of my girlfriend's parents because during those days they consider to be an Opera singer a hobby or an impossible profession from which someone could make a living. Basically my first relationships were doomed due to that issue. There is no any information in your biography about the years Can you give some points Hansi Hinterseer - Du Bist Alles this period of your life?
During that period, I worked as an assistant for lawyers. Preparing at daily bases their documents and materials, very often visiting courts, accountants and notaries. Working everyday from 8am to 8PM. Fortunately the conservatory of music was just around the corner from their office so during the evenings I used to study at the school of music until 23PM. That was my life from monday to friday. Then during the weekends I performed Operettas by Jacques Offenbach in a small theater with seats in Buenos Aires, playing different roles on stage making very little money but with this second job I was slowly training my acting and singing skills.
If I know well, you have financed your studies in a very special way? Can you tell your story? It was very very very difficult. The first 2 weeks of the months were ok but from then on I survived eating rice, octopus and squid. Things were easier upon my arrival in New York because while working on Broadway and winning competitionsI was able to extend my budget in direction to take voice lessons, coaching Operas and I was able to finished with the mortgage in Buenos Aires.
I can Allegro Ma Non Tanto - Various - High-Tech Chöre complain, Baz Luhrmann and La boheme on Broadway supported me a lot taking me as part of the team. You have started your career on Broadway. How did it work? Broadway is like going to a Wedding. You have many guest attending the event with different intentions. There are people who go to a wedding just in direction to see the dresses or checking who will be present during that event, some are trying to make of that day the best in the life of the marrying couple, some others just go with the intention of bringing more attention to themselves than the couple that is marrying.
Some Sto Frizura - Marinada - Na Dobrom Glasu go just to have fun, drinkdance and eat. I went into Broadway with that intention and energylet's have fun I said to myself.
You can imagine the happiness in my facejumping from singing in a small theater in Buenos Aires to be performing on Broadway. I did not think so much about the challenges and risk because the truth is that working on Broadway is extreme for an Opera singer.
First of all because you have to deal with 9 performances a week, then you must be very flexible to perform any role at any time, from Rodolfo to a newspaper seller, to a sailor, a gigolo, a fruit seller, a police man, a blind man, a piano player, guitar player, etc.
There is no room for Divos or Divasis all for one and one for all otherwise shows don't last long. It was fun at that age 23 but I would not do it again today, simply because it is way to much singing in one week.
As I see your repertoire, you have not sung Mozart roles. Mozart is not so important for you? I love Mozart, is my favorite composer but I never had the flexibility to sing it well. I could not do that and I won't try itI knew my limits then as well as now. I refused many tempting offers from important theaters simply because I felt that it was not my time in order to deal with certain repertory during that specific period. I lose many chances to get recognition and money and very often agents felt disappointed with me for not taking the offers but I consider that to deal with an Opera is like to go to war.
You must have the weapons, the strategy and the army in Allegro Ma Non Tanto - Various - High-Tech Chöre to win. If any of these is missing you are at risk of jeopardize you namethe one of your agency and most of all the one of the company that hired you. Is there an opera house in which you absolutely want to perform? Not in an Operahouse in particular but to sing Aida in a stadium with Placido Domingo conducting for an audience of Nowadays, the optical aspect of an opera production is getting more and more importance.
How do you see the balance between singing and acting? Acting for an Opera singer will never have a place without a top vocal technique. If you see the kind of extraordinary things she does while singing, even fighting with a sword on stage while playing the role of Abigaile. How does she do it? Well her technique is extremely solid and when things are that way you don't have to think about singing, you can just focus in acting. Opera should be excited and thrilling from a violent scene to a love scene or funny Allegro Ma Non Tanto - Various - High-Tech Chöre.
Second part You have sung a lot of parts through the years. Which part did you find the most challenging as a singer? Which character you felt was the most Allegro Ma Non Tanto - Various - High-Tech Chöre to play?
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