Trackimage | Playbut | Trackname | Playbut | Trackname |
---|---|---|---|---|
19518409 | Play | Dunkelrote Rosen | 02:38 Tools | |
19518481 | Play | Und nenn' Deine Liebe ich mein einziges Glück | 02:45 Tools | |
19518460 | Play | Hab' ein blaues Himmelbett | 03:50 Tools | |
19518445 | Play | Wie mein Ahnl zwanzig Jahr | 03:29 Tools | |
19518476 | Play | Ich möcht' einmal wieder verliebt sein | 03:10 Tools | |
19518487 | Play | Du bist mein Traum | 03:44 Tools | |
57585376 | Play | Wanderlied | 03:44 Tools | |
19518447 | Play | Komm, Zigány! | 04:46 Tools | |
19518440 | Play | Zwei Märchenaugen | 05:01 Tools | |
19518431 | Play | Das Wiener Lied | 05:36 Tools | |
19518531 | Play | Den Walzer hat der Herrgott für Verliebte nur gemacht | 03:55 Tools | |
19518415 | Play | Mein Mädel is nur eine Verkäuferin | 04:39 Tools | |
19518422 | Play | Komm in die Gondel | 03:42 Tools | |
19518438 | Play | Komm' in den kleinen Pavillon | 04:46 Tools | |
19518411 | Play | To each his Dulcinea | 01:47 Tools | |
19518467 | Play | Grüß' mir mein Wien | 04:27 Tools | |
19518427 | Play | On the street where you live | 04:08 Tools | |
19518417 | Play | Candide's Lament | 06:21 Tools | |
19518416 | Play | Nothing More Than This | 04:03 Tools | |
19518456 | Play | Sympathy for the Devil | 05:49 Tools | |
57585377 | Play | Serenade for tenor, horn and strings, Op. 31: I. Prologue | 04:03 Tools | |
57585378 | Play | Puccini: La Bohème - Che gelida manina | 04:03 Tools | |
19518432 | Play | Luigi's Welcome | 02:33 Tools | |
57585379 | Play | Il re pastore, K. 208, Act 1: "Si spande al sole in faccia" | 02:33 Tools | |
19518504 | Play | Nocturne for tenor, seven obligato instruments and strings, Op. 60 | 28:16 Tools | |
57585401 | Play | La Bohème / Act 1 (Giacomo Puccini) -"Che gelida manina" (Live At Accademia di Santa Cecilia, Rome / 1987) | 03:52 Tools | |
57585402 | Play | La Bohème / Act 3 -"Dunque è propio finita!" (Live At Accademia di Santa Cecilia, Rome / 1987) | 03:11 Tools | |
57585407 | Play | La Bohème / Act 4 -"Oh Dio! Mimì!" (Live At Accademia di Santa Cecilia, Rome / 1987) | 03:11 Tools | |
19518412 | Play | Life is Happiness Indeed | 02:59 Tools | |
57585380 | Play | It Must Be So (Candide's Meditation) | 02:59 Tools | |
57585381 | Play | Serenade for tenor, horn and strings, Op. 31: VIII. Epilogue | 02:59 Tools | |
57585404 | Play | La Bohème / Act 1 (Giacomo Puccini) -"Si sente meglio?" (Live At Accademia di Santa Cecilia, Rome / 1987) | 03:11 Tools | |
57585383 | Play | Serenade for tenor, horn and strings, Op. 31: V. Dirge | 02:59 Tools | |
87711434 | Play | La Bohème / Act 3 -Mimì di serra è fiore (Rodolfo, Mimì, Marcello) (Live At Accademia di Santa Cecilia, Rome / 1987) | 02:12 Tools | |
57585418 | Play | La Bohème / Act 4 -"Che ha detto il medico?" (Live At Accademia di Santa Cecilia, Rome / 1987) | 02:59 Tools | |
57585417 | Play | La Bohème / Act 1 (Giacomo Puccini) -"Io resto" (Live At Accademia di Santa Cecilia, Rome / 1987) | 02:59 Tools | |
57585382 | Play | Che gelida manina [La Boheme] | 02:59 Tools | |
19518413 | Play | I Must Be So | 02:15 Tools | |
19518414 | Play | You Were Dead, You Know | 03:01 Tools | |
57585384 | Play | Serenade for tenor, horn and strings, Op. 31: IV. Elegy | 03:01 Tools | |
57585436 | Play | La Bohème / Act 1 (Giacomo Puccini) -"O soave fanciulla" (Live At Accademia di Santa Cecilia, Rome / 1987) | 05:15 Tools | |
57585437 | Play | La Bohème / Act 3 -"Mimì è una civetta" (Live At Accademia di Santa Cecilia, Rome / 1987) | 03:15 Tools | |
57585421 | Play | La Bohème / Act 3 -"Mimì è tanto malata!" (Live At Accademia di Santa Cecilia, Rome / 1987) | 03:47 Tools | |
19518418 | Play | Quartet Finale | 03:24 Tools | |
57585385 | Play | The Ballad Of Eldorado | 03:24 Tools | |
57585398 | Play | Man of La Mancha: To Each His Dulcinea | 02:12 Tools | |
19518479 | Play | Mass XIV. Sanctus: "Holy! Holy! Holy!..." | 05:20 Tools | |
87711435 | Play | La Bohème / Act 3 -"Donde lieta uscì" (Live At Accademia di Santa Cecilia, Rome / 1987) | 06:21 Tools | |
87711437 | Play | Symphonic Sondheim: Sweeney Todd (From Sweeney Todd: The Demon Barber of Fleet Street) | 04:03 Tools | |
87711436 | Play | La Bohème / Act 2 -Il conto?! (Rodolfo, Schaunard, Colline, Coro, Musetta, Marcello, Mimì) (Live At Accademia di Santa Cecilia, Rome / 1987) | 04:03 Tools | |
57585400 | Play | Man of La Mancha: The Psalm | 03:52 Tools | |
19518410 | Play | Bernstein: Candide / Act II - Nothing More Than This | 04:03 Tools | |
19518529 | Play | Bernstein: Candide / Act I - Candide's Lament | 06:21 Tools | |
57585386 | Play | A Child of our Time: Part I: The Argument: Man has measured the heavens (Alto) | 03:24 Tools | |
57585387 | Play | Candide Begins His Travels / It Must Be Me | 03:24 Tools | |
57585388 | Play | Serenade for tenor, horn and strings, Op. 31: III. Nocturne | 06:21 Tools | |
87711438 | Play | With So Little to Be Sure Of (From "Anyone Can Whistle") | 03:11 Tools | |
57585389 | Play | Bernstein: Candide / Act I - I Must Be So | 04:03 Tools | |
57585390 | Play | Gethsemane (I Only Want to Say) | 04:03 Tools | |
57585392 | Play | Serenade for tenor, horn and strings, Op. 31: II. Pastoral | 04:03 Tools | |
57585393 | Play | A Child of our Time: Part III: Scene: The words of wisdom are these (Bass, Chorus) | 04:03 Tools | |
19518512 | Play | You Are Love (Reprise) | 02:12 Tools | |
57585391 | Play | Serenade for tenor, horn and strings, Op. 31: VII. Sonnet | 04:03 Tools | |
57585395 | Play | Serenade for tenor, horn and strings, Op. 31: VI. Hymn | 02:12 Tools | |
57585394 | Play | A Child of our Time: Part III: The cold deepens (Chorus) | 04:03 Tools | |
57585396 | Play | A Child of our Time: Part III: The soul of man (Alto) | 02:12 Tools | |
57585397 | Play | A Child of our Time: Part II: Scene: O my son! (Soprano, Alto, Tenor, Bass) | 02:12 Tools | |
19518434 | Play | S'ei t'abborre, io t'amo ancora | 03:52 Tools | |
57585399 | Play | A Child of our Time: Part II: Chorus of the Self-righteous: We cannot have them in our Empire (Chorus) | 03:52 Tools | |
19518455 | Play | Candide Begins His Travels - It Must Be Me (Candide's Second Meditation) | 03:11 Tools | |
57585403 | Play | A Child of our Time: Part I: Interludium attacca | 03:11 Tools | |
19518524 | Play | Bernstein: Candide / Act I - Candide Begins His Travels - It Must Be Me (Candide's Second Meditation) | 03:11 Tools | |
57585416 | Play | "Che gelida manina" | 02:59 Tools | |
57585405 | Play | He is dead | 03:11 Tools | |
57585406 | Play | "O soave fanciulla" | 03:11 Tools | |
57585408 | Play | A Child of our Time: Part III: Praludium attacca | 03:11 Tools | |
57585409 | Play | A Child of our Time: Part II: The dark forces rise like a flood (Alto) | 03:11 Tools | |
19518491 | Play | Night Of My Nights | 03:15 Tools | |
57585439 | Play | Mama Look Sharp (From 1776) | 03:15 Tools | |
19518526 | Play | Ah! così nel dì ridenti | 02:41 Tools | |
19518518 | Play | Vivi tu, te ne scongiuro | 04:15 Tools | |
57585423 | Play | Fantaise aux divis mensonges from Lakme | 06:30 Tools | |
19518425 | Play | Mass I. Devotions before Mass: I. 1. Antiphon: "Kyrie eleison" | 02:28 Tools | |
19518449 | Play | Bernstein: Candide / Act I - Life is Happiness Indeed | 02:59 Tools | |
57585411 | Play | A Child of our Time: Part II: A star rises in mid-winter (Chorus) | 02:59 Tools | |
57585412 | Play | A Child of our Time: Part II: Scene: The boy becomes desperate in his agony (Bass, Alto) | 02:59 Tools | |
57585413 | Play | A Child of our Time: Part I: Now in each nation (Bass) | 02:59 Tools | |
57585414 | Play | Torna A Surriento | 02:59 Tools | |
19518478 | Play | Che gelida manina | 05:15 Tools | |
57585415 | Play | Arie: "Dies Bildnis ist bezaubernd schön" (Tamino) | 02:59 Tools | |
87711439 | Play | Candide / Act I : I Must Be So | 02:59 Tools | |
57585434 | Play | Mass I. Devotions before Mass : I. 1. Antiphon: "Kyrie eleison" | 05:15 Tools | |
57585419 | Play | Erstes Finale (excerpt): "Wie stark ist nicht dein Zauberton" (Tamino) | 02:59 Tools | |
57585420 | Play | All I Ask of You | 02:59 Tools | |
19518501 | Play | Nel veder la tua costanza | 04:06 Tools | |
19518421 | Play | Mass I. Devotions before Mass: II. 2. Hymn and Psalm: A simple song | 03:47 Tools | |
57585422 | Play | A Child of our Time: Part I: How can I cherish my man in such days (Soprano) | 03:47 Tools | |
19518537 | Play | "Se vincendo vi rendo felici" | 06:30 Tools | |
19518495 | Play | Ave Maria (Schubert) | 05:44 Tools | |
57585424 | Play | A Child of our Time: Part III: A Spiritual: Deep river (Chorus, Soprano, Alto, Tenor, Bass) | 05:44 Tools | |
57585425 | Play | A Child of our Time: Part II: A Spiritual of Anger: Go down, Moses (Chorus, Bass) | 05:44 Tools | |
57585426 | Play | A Child of our Time: Part I: I have no money for my bread (Tenor) | 05:44 Tools | |
57585427 | Play | A Child of our Time: Part III: General Ensemble: I would know my shadow and my light (Chorus, Soprano, Alto, Tenor, Bass) | 05:44 Tools | |
57585410 | Play | A Child of our Time: Part I: Chorus of the Oppressed: When shall the userers' city cease (Chorus) | 02:59 Tools | |
57585428 | Play | A Child of our Time: Part II: What have I done to you, my son? (Soprano) | 05:44 Tools | |
57585429 | Play | A Child of our Time: Part II: The Terror: Burn down their houses! (Chorus) | 05:44 Tools | |
57585430 | Play | A Child of our Time: Part I: Scene: Is evil then good? (Chorus, Alto) | 05:44 Tools | |
57585431 | Play | A Child of our Time: Part II: A Spiritual: O, by and by (Chorus, Soprano) | 05:44 Tools | |
19518510 | Play | Torna a Surriento (3m 11s) | 03:14 Tools | |
87711440 | Play | The Psalm | 03:14 Tools | |
87711442 | Play | Younger Than Springtime | 05:15 Tools | |
87711441 | Play | Bernstein: Candide / Act II - The Ballad of Eldorado | 03:14 Tools | |
57585432 | Play | Your Reverence, Could I Talk to Him? | 05:15 Tools | |
87711443 | Play | Anthem | 05:15 Tools | |
57585433 | Play | Un Aura Amorosa - (Cosi fan Tutte) | 05:15 Tools | |
57585435 | Play | Ev¹ry valley shall be exalted | 05:15 Tools | |
57585438 | Play | Dalla Sua Pace (Vienna Version) - Don Giovanni | 03:15 Tools | |
57585440 | Play | A Child of our Time: Part II: The boy sings in his prison: My dreams are all shattered (Tenor) | 03:15 Tools |
[From Wikipedia] Jerry Hadley (June 16, 1952 – July 18, 2007) was an American operatic tenor who received three Grammy awards for his vocal performances in the recordings of Jenufa (2004 Grammy Award for Best Opera Recording), Susannah (1995 Grammy Award for Best Opera Recording, and Candide (1992 Grammy Award for Best Classical Album). In 1982 he made his first appearance at the Vienna State Opera as Nemorino in Donizetti's L'elisir d'amore. He frequently performed at the Metropolitan Opera, La Scala, the Royal Opera House at Covent Garden, the Deutsche Oper Berlin, the Hamburg State Opera, the Lyric Opera of Chicago, the San Francisco Opera, the San Diego Opera and the Glyndebourne, Aix-en-Provence and Salzburg festivals. He was known for his interpretations of lyric tenor opera roles as well as his performances of Broadway musicals, operetta, and popular music. One of his best-selling recordings was the EMI three-CD recording of the complete score of Show Boat, conducted by John McGlinn. Hadley sang the role of Gaylord Ravenal. He sang the tenor roles of the bel canto repertory (Il Barbiere di Siviglia, L'elisir d'amore, Anna Bolena, La bohème, Lucia di Lammermoor) as well as Mozart (Così fan tutte, Don Giovanni, Die Zauberflöte, La clemenza di Tito) and the French Romantics (Les contes d'Hoffmann, Faust, Werther, Manon). He also sang the tenor role in Handel's Messiah. He sang the role of Tom Rakewell in Stravinsky's The Rake's Progress for much of his career, first performing it while a graduate student at the University of Illinois. Hadley created the role of Don Luis de Carvajal y de la Cueva, in Myron Fink's 1997 opera, The Conquistador[1][2], and the title role in John Harbison's 1999 The Great Gatsby, based on the novel of the same name. He created the tenor lead role in Sir Paul McCartney's Liverpool Oratorio. In the early 1990s, Hadley appeared on The Symphonic Procol Harum, an album of reinterpretations of the music of the classic rock group featuring past and present members of the band, augmented by orchestra and guest vocalists; Hadley's contribution was a stirring vocal interpretation of the Procol Harum classic, Grand Hotel. In 1996, Jerry Hadley commissioned the composer Daniel Steven Crafts to create music for selected poems by Carl Sandburg. The work, The Song and The Slogan, premiered in 2000 at the University of Illinois, and was made into a PBS video, which won an Emmy Award for Best Musical Performance by the Mid-America Chapter of the National Academy of Television Arts and Sciences. Among the performers in the premiere were University professors and musicians with whom he had worked while a student, including pianist Eric Dalheim, conductor Paul Vermel, and cellist Barbara Hedlund. He also sang the lead role in Weill's Rise and Fall of the City of Mahagonny. With Richard Bonynge, he made many recordings in the bel canto genre, and Leonard Bernstein selected him to sing the title role in a complete recording of his operetta Candide (which Bernstein himself conducted). It was one of the conductor's very last projects. The performance was also filmed for television. As a recitalist, he gave concerts in Europe and the United States, and his performances regularly featured American music. He performed frequently with the American conductor-pianist Alexander Frey, and at the time of Mr. Hadley's death they were planning to record two new solo compact discs of song repertoire of Austria and Hollywood. Hadley also performed frequently with pianist Eric Dalheim. A few months before his death, Jerry Hadley had begun a major comeback with the public and critics noting a renewed freshness, control and vibrancy to his voice. His last operatic performances were in May 2007 in Brisbane, Australia as Pinkerton in Madama Butterfly with Opera Queensland, and critics hailed Hadley's singing for having a new-found sense of youth and clarity coupled with a perfect technique and sure dramatic sense. In an interview with the The Queensland Courier-Mail Hadley commented on his return to the stage after a self-imposed exile following his divorce from pianist Cheryll Drake Hadley in 2002. "A wounded bird cannot sing. It was tough. It was emotionally distressing and it goes straight to the throat. So I took some time off and sat in the quiet for a while. I never really understood how inseparable was the journey of the spirit and the journey of singing and making music. For the first time in my life I couldn't see a way forward. But I came out on the other side of it with a deeper appreciation of what a great gift and great opportunities God has given me." Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.