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Virtual Console Kurz-Reviews - Teil 1/2

16,

09:41,

2007-10-30 13:39:58

Description: German - Neun Virtual Console-Titel finden sich bereits im Speicher meiner Wii-Konsole. Zeit, diese mal durchzugehen und auf Tauglichkeit zu überprüfen. Sind die Spiele die Wii-Points wert? (More)

Channel: youtube

Tags: ActRaiser City Console Drive Gunstar Heroes Icarus Kid Kurz Mega Metroid Nintendo Reviews Sega Sim Super Virtual

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warten warten bis kurz vorm schluss

02:04,

2008-06-14 04:39:52

Description: warten warten bis kurz vorm schluss

Channel: youtube

Tags: bis kurz vorm warten

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Kurz Vor Schlgerei

00:24,

2008-06-26 01:12:28

Description: Kurz Vor Schlgerei

Channel: youtube

Tags: Kurz Vor

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kurz vorm abpfiff

01:27,

2008-06-27 11:51:45

Description: kurz vorm abpfiff

Channel: youtube

Tags: kurz vorm

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MDA Compact IV (Kurzüberlick, GERMAN)

13,

04:41,

2008-07-04 06:37:38

Description: MDA Compact IV (Kurzüberlick, GERMAN)

Channel: veoh

Tags: (kurzüberlick german) mda compact

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Kurz: jak vytvořit úspěšné internetové stránky

35,

27:47,

2008-07-18 19:46:19

Description: Běžně jsou pro obyvatele Bohemie pořádány kurzy hlavně o stavění nebo skriptování v Second Life. Tentokrát je tu kurz, který je věnovaný (More)

Channel: revver

Tags: bohemia kurz second life

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Kurz vorm Erstflug mim Zero

11,

00:53,

2008-05-27 01:14:03

Description: Kurz vorm Erstflug mim Zero

Channel: youtube

Tags: Erstflug Kurz mim vorm Zero

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coloratura SELMA KURZ -- Mad Scene - Lucia - Edison ...

12,

03:29,

2008-01-30 18:08:48

Description: Selma Kurz, once the reigning coloratura soprano of Vienna, sings "Scena Della Pazzia / Aria del Follia" from Donizetti's opera LUCIA on a rare 4-minute Edison Blue Amberol cylinder # (More) Selma Kurz, once the reigning coloratura soprano of Vienna, sings "Scena Della Pazzia / Aria del Follia" from Donizetti's opera LUCIA on a rare 4-minute Edison Blue Amberol cylinder # 28162. Polish Prima Donna SELMA KURZ (1874-1933), famous for her perfect and often protracted TRILLS, was born in Biala to a humble Jewish family of 11 children. When still a girl, she was taken to a convent to learn sewing, but the nuns quickly discovered her lovely voice. Soon she sang in the local synagogue. Money was raised to send her to Vienna. The well-known Count Nicholas Esterhazy agreed to pay for voice lessons with Johannes Ress. She later consulted with Jean de Reszke and Matilde Marchesi in Paris. Outstanding in a student concert of Ress pupils in 1895, she was given a contract made her operatic debut as the lead in A. Thomas's "Mignon" in Hamburg—on 5/ 12/ 1895. During the next 4 years she sang Eudoxie in Halevy's "La Juive," Elizabeth in Wagner's "Tannhauser," and CARMEN! Gustav Mahler, music director of the Vienna Imperial and Royal Court Opera, asked her to audition for him. He immediately offered her a fate-sealing contract, and she made her début 9/ 3/ 1899 at the Vienna Opera. Her success in Vienna was swift and total and would last to the end of her musical career, thirty years later. Mahler himself, hearing her perfect TRILL and wonderfully placed high-notes in the Trovatore Leonora's Act IV aria, suggested she study the Hochkoloratur (high coloratura) repertory. The Court Opera director carefully introduced her to this repertoire by letting her sing Rosina (in The Barber of Seville), the pages Urbain in Les Huguenots and Oscar in Un ballo in maschera, Juliette and Martha; but she soon moved on to Elvira in Ernani, Lakmé, Konstanze, Gilda, and Violetta. In 1906, on the occasion of a much- acclaimed Enrico Caruso gala, she sang Gilda in Rigoletto, with Titta Ruffo as the Jester! This was Ruffo's only appearance in Vienna. Although she had great triumphs in coloratura roles, Kurz did not neglect her lyric repertory. Indeed, of the 992 performances she would give at the Vienna Hofoper (later Staatsoper) more than 100 would be devoted to Mimì in Puccini's La bohème. She also created that composer's Madama Butterfly for Vienna (1907) as well as Saffi in Johann Strauss II's Der Zigeunerbaron, 1910. She sang Tatiana (Eugene Onegin) and Sophie (Der Rosenkavalier) in 1911 and, in one of the many high points of her Viennese career, created Zerbinetta in the world première of the second version of Richard Strauss' Ariadne auf Naxos, on October 4, 1916. She sang Zerbinetta 36 times in Vienna. In Vienna she sang every imaginable role, from Tchaikovsky's Violanta and Wagner's Elsa (in Lohengrin) and Sieglinde (in Die Walküre) to Marguerite in Gounod's Faust, Massenet's Manon, Frau Fluth in Nicolai's Merry Wives of Windsor and Rosalinde in Johann Strauss' Die Fledermaus. Her last performance at the great theatre in the Ringstraße took place on February 12th, 1927. This appearance, as Rosina in Barbiere, closed one of the most glorious operatic careers in the Twentieth Century. Her very last public appearance was in September 1932 at the baptism of Archduke Stefan (1932-1998), son of Archduke Anton and Princess Ileana of Romania. Although already mortally ill, she sang Mozart's Ridente la calma and the Bach-Gounod Ave Maria. Kurz died 9 months later of cancer. She left over 150 78rpm sides. The first were made for Berliner in 1900. These were followed by Zonophone and Gramophone & Typewriter disks, 1901-1906. She made a long and glorious series for HMV (now EMI) in 1907-1914. These are by far the best. Around 1910 she recorded three cylinders for Edison; TWO I've posted on YouTube. She made a few electrical records, but by this time her once glorious voice was seriously on the wane. (Less)

Channel: youtube

Tags: Amberol Amberola Blue coloratura Donizetti Edison gmmix Kurz LUCIA Selma soprano

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coloratura SELMA KURZ - "Una voce poco fa" - Edison...

10,

04:18,

2008-01-29 13:52:05

Description: Selma Kurz, once the reigning coloratura soprano of Vienna, sings "Un voca.." from Rossini's opera The Barber of Seville on a RARE 4-minute Edison Blue Amberol cylinder # 28147. (More) Selma Kurz, once the reigning coloratura soprano of Vienna, sings "Un voca.." from Rossini's opera The Barber of Seville on a RARE 4-minute Edison Blue Amberol cylinder # 28147. Polish Prima Donna SELMA KURZ (1874-1933), famous for her perfect and often protracted TRILLS, was born in Biala to a humble Jewish family of 11 children. When still a girl, she was taken to a convent to learn sewing, but the nuns quickly discovered her beautiful voice. Soon she sang in the local synagogue. Money was raised to send her to Vienna. The well-known Count Nicholas Esterhazy agreed to pay for voice lessons with Johannes Ress. She later consulted with Jean de Reszke and Matilde Marchesi in Paris. Outstanding in a student concert of Ress pupils in 1895, she made her operatic debut as the lead in A. Thomas's "Mignon" in Hamburg—on 5/ 12/ 1895. During the next 4 years she sang Eudoxie in Halevy's "La Juive," Elizabeth in Wagner's "Tannhauser," and CARMEN! Gustav Mahler, music director of the Vienna Imperial and Royal Court Opera, asked her to audition for him. He immediately offered her a fate-sealing contract, and she made her début 9/ 3/ 1899 at the Vienna Opera. Her success in Vienna was swift and total and would last to the end of her musical career, thirty years later. Mahler himself, hearing her perfect TRILL and wonderfully placed high-notes in the Trovatore Leonora's Act IV aria, suggested she study the Hochkoloratur (high coloratura) repertory. The Court Opera director carefully introduced her to this repertoire by letting her sing Rosina (in The Barber of Seville), the pages Urbain in Les Huguenots and Oscar in Un ballo in maschera, Juliette and Martha; but she soon moved on to Elvira in Ernani, Lakmé, Konstanze, Gilda, and Violetta. In 1906, on the occasion of a much- acclaimed Enrico Caruso gala, she sang Gilda in Rigoletto, with Titta Ruffo as the Jester! This was Ruffo's only appearance in Vienna. Although she had great triumphs in coloratura roles, Kurz did not neglect her lyric repertory. Indeed, of the 992 performances she would give at the Vienna Hofoper (later Staatsoper) more than 100 would be devoted to Mimì in Puccini's La bohème. She also created that composer's Madama Butterfly for Vienna (1907) as well as Saffi in Johann Strauss II's Der Zigeunerbaron, 1910. She sang Tatiana (Eugene Onegin) and Sophie (Der Rosenkavalier) in 1911 and, in one of the many high points of her Viennese career, created Zerbinetta in the world première of the second version of Richard Strauss' Ariadne auf Naxos, on October 4, 1916. She sang Zerbinetta 36 times in Vienna. In Vienna she sang every imaginable role, from Tchaikovsky's Violanta and Wagner's Elsa (in Lohengrin) and Sieglinde (in Die Walküre) to Marguerite in Gounod's Faust, Massenet's Manon, Frau Fluth in Nicolai's Merry Wives of Windsor and Rosalinde in Johann Strauss' Die Fledermaus. Her last performance at the great theatre in the Ringstraße took place on February 12th, 1927. This appearance, as Rosina in Barbiere, closed one of the most glorious operatic careers in the Twentieth Century. Her very last public appearance was in September 1932 at the baptism of Archduke Stefan (1932-1998), son of Archduke Anton and Princess Ileana of Romania. Although already mortally ill, she sang Mozart's Ridente la calma and the Bach-Gounod Ave Maria. Kurz died 9 months later of cancer. She left over 150 78rpm sides. The first were made for Berliner in 1900. These were followed by Zonophone and Gramophone & Typewriter disks, 1901-1906. She made a long and glorious series for HMV (now EMI) in 1907-1914. These are by far the best. Around 1910 she recorded three cylinders for Edison. She made a few electrical records, but by this time her once glorious voice was seriously on the wane. (Less)

Channel: youtube

Tags: Amberol Barber Blue coloratura cylinder Edison gmmix Kurz Rossini Selma soprano

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Ein Mann räumt auf - Jürgen Kurz www.fuer-immer-au...