687 tracce audio royalty-free per "Opera"

Enrico Caruso und Nellie Melba singen das Duett "O soave fanciulla" aus Giacomo Puccinis Oper La Bohème. Enrico Caruso and Nellie Melba singing the duet "O soave fanciulla" from Giacomo Puccini's 1896 opera La bohème. It was recorded in New York on 24 March 1907 (Victor C4326 95200) – http://victor.library.ucsb.edu/matrixDetail.php?id=200006039.Length: 2 minutes 9 seconds; size: 2.47 megabytes.

1st release date: 1936 1st recording date: 26 April 1935 Composer: Christoph Willibald Gluck (1714-1787) Lyricist: Ranieri de' Calzabigi (1714-1795) Conductor: Dino Olivieri (1905-1963) Performer: Beniamino Gigli (Tenor) (1890-1957) and Members of La Scala Orchestra, Milan Work: Paride ed Elena Content: O del mio dolce ardor Music genre: Opera terminology

Label: L'Anthologie Sonore Cat. no.: FA 805 B Order number: JF 7 / M3-102732 Matrix/StamperID: JF 7-1 / M3-102732 1st release date: 1942? 1st recording date: 20-24 September 1941 Place of recording: Paris (France) Author(s)/Composer(s): Wolfgang Amadeus Mozart (1756-1791) Lyricist(s): Friedrich Wilhelm Weiskern (1711-1768), Johann Heinrich Friedrich Müller (1738-1815) and Johann Andreas Schachtner (1731-1795) based on "Les Amours de Bastien et Bastienne" by Justine Favart (1727-1772) and Harny de Guerville (17?-17?) Conductor: Gustave Cloez (1890-1970) Performer(s): Bastien: Paul Derenne, Tenor (1907-1988), Bastienne: Martha Angelici, Soprano (1907-1973) and Pauline Aubert, Harpsichord (1884-1979) with the Orchestre du Conservatoire de Paris Vocal range: Tenor and soprano solo with orchestra and harpsichord accompaniment Title/Work: Bastien et Bastienne (opera) Content: 10. Récit de Bastien: He quoi? tu ris de ma prière; Duo de Bastien et Bastienne: Va, berger perfide Genre(s): Opera terminology Comments:

Label: L'Anthologie Sonore Cat. no.: FA 805 A Order number: JF 1 / M3-102726 Matrix/StamperID: JF 1-1 / M3-102726 1st release date: 1942? 1st recording date: 20-24 September 1941 Place of recording: Paris (France) Author(s)/Composer(s): Wolfgang Amadeus Mozart (1756-1791) Lyricist(s): Friedrich Wilhelm Weiskern (1711-1768), Johann Heinrich Friedrich Müller (1738-1815) and Johann Andreas Schachtner (1731-1795) based on "Les Amours de Bastien et Bastienne" by Justine Favart (1727-1772) and Harny de Guerville (17?-17?) Conductor: Gustave Cloez (1890-1970) Performer(s): Bastien: Paul Derenne, Tenor (1907-1988), Bastienne: Martha Angelici, Soprano (1907-1973) and Pauline Aubert, Harpsichord (1884-1979) with the Orchestre du Conservatoire de Paris Vocal range: Tenor and soprano solo with orchestra and harpsichord accompaniment Title/Work: Bastien et Bastienne (opera) Content: 10. 9. Air de Bastien: Oui, da! je ris de tes outrages; Air de Bastienne: Il n'est besoin que d'un sourire Genre(s): Opera terminology Comments: -

Title/Work: Cavalleria Rusticana Content: Intermezzo Genre(s): Opera terminology Author(s)/(Composer(s): Pietro Mascagni (1863-1945) Music arranger(s): none Lyricist(s): Giovanni Targioni-Tozzetti (1712-1783) and Guido Menasci (1867-1925) (adapted from a play written by Giovanni Verga (1840-1922)) Performer(s): Victor Orchestra Conductor: Walter B. Rogers (1865-1939) Place of recording: Camden, New Jersey (United States) 1st release date: February 1905 1st recording date: 7 November 1904 (B-4050: 18 June 1908)

Title/Work: Mass No. 2 in E minor, WAB 27 Content: 6th Movement: Agnus Dei (Part 2) Genre(s): Masses Author(s)/Composer(s): Anton Bruckner (1824-1896) Music arranger(s): none Lyricist(s): none Performer(s): Philharmoniker Hamburg Conductor: Max Thurn (1897-1969) Place of recording: Hamburg State Opera, Hamburg (German Reich) 1st release date: 1938 1st recording date: 10 June 1938

Władysław Tarnowski ps. Ernest Buława (1836-1878) opera "Achmed oder der Pilger der Liebe", „Ballet” z II Aktu, składający się z 3 cześci przeplecionych ze sobą: Khelas (taniec arabski) z Królem i [jego córką] Dolorez na tronach oraz świtą dworską, Gitana (taniec solo z kastanietami), Eros i Psyche (Oto są dwa posągi ogrodowe, budzi się najpierw Eros, opuszcza swój cokół. Budzi Psyche jednym pocałunkiem – pieszczą się w ogrodzie[;] gonitwa za motylem. Wreszcie człowiek zjawia się w ogrodzie, oni biegną szybko do cokołów i na powrót kamienieją.) [Warto tu zwrócić uwagę na obraz Artura Grottgera „Rozmowa posagów” z roku 1865, namalowany w Śniatynce – posiadłości Stanisława Tarnowskiego zwanego „Białym” przyjaciela, mecenasa i modela Artura Grottgera a rodzonego brata kompozytora Władysława Tarnowskiego, obraz wydaje się stanowić inspiracje do tej części Baletu. Stąd zilustrowanie muzyki do ostatniej części Baletu fragmentami obrazu Artura Grottgera.] Kolejność ma być wedle partytury następująca: Khelas, Gitana, (Khelas ze śpiewem tu pominietym), Gitana, Eros i Psyche – część A, Gitana, Eros i Psyche – cześć B z gonitwą za motylem. Opera ta jest oparta na opowiadaniu Washingtona Irvinga opublikowanym w "Tales of the Alhambra', autorem libretta był Wladysław Tarnowski, który także przetłumaczył opowiadanie (Powieść o księciu Ahmedzie al Kamel albo o pielgrzymie miłości.) Akcja opery dzieje się na terenie dzisiejszej Hiszpanii a głównym bohaterem jest syn władcy Grenady. Partytura: Władysław Tarnowski ps. Ernest Buława, Hofmeister podaje jako czas publikacji październik 1877, str. 306. Wykonanie: Marcin Tarnowski, (M.Tarnowski (talk) 13:39, 21 January 2017 (UTC)) styczeń 2017.

1st release date: 1938 1st recording date: 29 April 1937 Place of recording: unknown Author(s)/Composer(s): Edvard Grieg (1843-1907) Lyricist(s): none Music arranger(s): none Conductor: Hans Rosbaud (1895-1962) Performer(s): Pianoforte: Walter Gieseking (1895-1956) with the Staatskapelle Berlin (Berlin State Opera House Orchestra) Vocal range: instrumental Title/Work: Piano Concerto in A minor, Op. 16 Content: Part 3: Cadenza and 1st Movement: Allegro molto moderato (Conclusion) Genre(s): Piano concerto

1st release date: 1938 1st recording date: 29 April 1937 Place of recording: unknown Author(s)/Composer(s): Edvard Grieg (1843-1907) Lyricist(s): none Music arranger(s): none Conductor: Hans Rosbaud (1895-1962) Performer(s): Pianoforte: Walter Gieseking (1895-1956) with the Staatskapelle Berlin (Berlin State Opera House Orchestra) Vocal range: instrumental Title/Work: Piano Concerto in A minor, Op. 16 Content: Part 3: Cadenza and 1st Movement: Allegro molto moderato (Conclusion) Genre(s): Piano concerto

Scheherazade, Symphonic Suite, Op. 35. The San Francisco Symphony Orchestra conducted by Pierre Monteux. Violin solo by Naoum Blinder. Recorded March 3 & 4, 1942 in the War Memorial Opera House in San Francisco. Victor DM-920. Transferred and restored from the original 78 set. La suite symphonique Shéhérazade Shéhérazade , de Nikolai Rimsky-Korsakov, Op. 35: I. La mer et le vaisseau de Simbad, interprétée par l'orchestre symphonique de San Francisco dirigé par Pierre Montreux avec Naoum Blinder en premier violon. Enregistrement des 3 et 4 mars 1942 à l'opéra du Mémorial de la Guerre à San Francisco.

Title/Work: Madama Butterfly Content: No.13: Perchè con tante cure Genre(s): Opera Author(s)/(Composer(s): Giacomo Puccini (1858-1924) Music arranger(s): none Lyricist(s): Luigi Illica (1857–1919) and Giuseppe Giacosa (1847-1906) based in part on the short story "Madame Butterfly" (1898) by John Luther Long (1861-1927), which was dramatized by David Belasco (1853-1931) Performer(s): Professori d'Orchestra e l'intero Corpo Corale della "Scala di Milano", Rosetta Pampanini (Soprano), Conchita Velasquez (Mezzosoprano), Ferrari Cesira (Soprano), Alessandro Grando (Tenore), Gino Vanelli (Baritone), Giuseppe Nessi (Tenore), Aristide Baracchi (Tenore), Salvatore Baccaloni (Basso) and Lino Bonardi (Baritone) Conductor: Lorenzo Molajoli (1868-1939) Place of recording: London (United Kingdom) 1st release date: 1929 1st recording date: 25 April - 11 May 1929

This is my ghost opera sound it is perfect for a movie that is haunted.

A sound object for sarah belle reid‘s opera project. Opera organism is an evolving brassy drone sound. Equipment: native instruments reaktor5 ensemble designed by rick scott. The sound that gives time its depth.

Voice fragment of a little-known opera.

Cinematic Typical space opera type music. Source: Kevin MacLeod - Kevin MacLeod

A sound object for sarah belle reid‘s opera project. Short intermezzo. This object can be tailored in three different parts - if needed. Equipment: ni kontakt and spitfire sample library. The sound that gives time its depth.

Filed for sbr's opera project.

A sound object for sarah belle reid‘s opera project: a sequence of mostly percussive sounds - you can use the whole object, different parts or a individual sound. Eurorack-equipment: mi marbles, mi elements and mi rings. The sound that gives time its depth.

Whistled first notes of the "ezpatadantza de amaya", from the opera "amaya" composed by jesus guridi.

This sound was very simple to make. I just took the sound of an opera singer singing a scale and added reverb to it. Nothing more, nothing less. The sound does not have to bee used for just ghosts, but pretty much anything. Like an opera singing in the shower. By the way, this sound was used in a song that i made. You can get my music at http://ezrafike. Bandcamp. Com/. Made with audacity and an opera singer.

For the sarah belle reid opera project, a sound from my youth, the priming of an inhaler for asthma.

For the sarah belle reid opera project, a sound from my youth, the use of an inhaler for asthma.

Synth loop. Like broken opera robots. Adjust the pitch.

Recalling the moment i realized the source of a recurring nightmare as a child. Recorded for the sarah belle reid opera project.

Waiting for the concert. . . Sitting in the opera. Watching the orchestra tunic the instruments. Sitting to close to the stage. Way to loud and wild.

A submission for sarah belle reid's opera project collab for patrons. This is an amalgamation of walking through the night grass and some deep meditative breathing.

Wherein my mother tells a story from my childhood, when i had my own schrödinger's cat moment. Recorded for the sarah belle reid opera project.

Quartet: "Bella figlia dell' amore" from Giuseppe Verdi's opera Rigoletto (1851), performed by Enrico Caruso (the Duke of Mantua), Louise Homer (Maddalena), Bessie Abott (Gilda), and Antonio Scotti (Rigoletto). This is Victor Records Matrix C-4259, recorded on 20 February 1907 in New York City, and released under a variety of labels (full details) “..Bella figlia dell'amore”, cuarteto de la ópera lírica “Rigoletto” de Giuseppe Verdi. La pieza, de una grabación de la ópera de 1907 de la casa discográfica Victor Records, siendo protagonistas Enrico Caruso, Bessie Abott, Louise Homer y Antonio Scotti. Bella figlia dell'amore, de Rigoletto de Giuseppe Verdi. Enregistrement de 1907, avec Enrico Caruso, Bessie Abott, Louise Homer et Antonio Scotti. Italiano: “Un dì se ben rammentomi ...Bella figlia dell'amore”, quartetto dall'opera lirica “Rigoletto” di Giuseppe Verdi. Il pezzo, da una registrazione dell'opera del 1907 a cura della casa discografica Victor Records, vede protagonisti Enrico Caruso, Bessie Abott, Louise Homer e Antonio Scotti. Македонски: „Убава ќерко на љубовта“ (Bella figlia dell'amore) од операта „Риголето“ од Џузепе Верди во изведба на Енрико Карузо, Беси Абот, Луиз Хомер и Антонио Шоти (снимка од 1907 г.) "Bella figlia dell'amore" из Риголетто Джузеппе Верди. В 1907 студия Victor Records записала исполнение Энрико Карузо, Бесси Аботт, Луизы Гомер и Антонио Скотти. Tiếng Việt: "Bella figlia dell'amore" trích trong vở Rigoletto của Giuseppe Verdi. Bản thu thanh năm 1907 của hãng Victor Records với các giọng hát của Enrico Caruso, Bessie Abott, Louise Homer và Antonio Scotti.

This sound was designed for an opera production as to simulate an earthquake. It is combined and remixed from various different free sounds.

A modified recording of sweet adeline by the haydn quartet making it more atmospheric and distant. Also an attempt to remove some of the really nice fuzz (sorry).

Grabación de golpe en una mesa simulando una discusión, para usarlo como fx (efecto de sonido) en la radionovela "asignaturas pendientes" para radioua de la universidad de alicante. (españa). Recording of a table shot simulating a discussion, to use it as fx (sound effect) in the radio soap opera "asignaturas pendientes" for radioua of the university of alicante. (spain).

Grabación del sonido de golpear un volante de coche para usarlo como fx (efecto de sonido) en la radionovela "asignaturas pendientes" para radioua de la universidad de alicante. (españa). Recording of the sound of hitting a car steering wheel to use it as fx (sound effect) in the radio soap opera "asignaturas pendientes" for radioua of the university of alicante. (spain).

Música ambiental experimental y electrónica para crear atmósfera de mundo fantasioso e irreal de las mentes humanas para las secuencias de la radionovela "asignaturas pendientes" de radioua de la universidad de alicante (españa). Sonido realizado mediante sintetizadores del software magix music studio. Experimental and electronic ambient music to create an atmosphere of fantasy and unreal world of human minds for the sequences of the radio soap opera "asignaturas pendientes" of radioua of the university of alicante (spain). Sound made by synthesizers from magix music studio software.

Metro station in vienna (wien), austria, followed by a ride in the metro. 1) announcement in german and english: unattended luggage will be removed2) atmosphere at the platform, trains coming, door opening, warning, closing, trains leave3) announcement in german: "seien sie achtsam" - no begging allowed4) ride in the u-bahn (metro/subway) from station "taubstummengasse" to "karlsplatz", announcement of station in the train5) stepping out at karlsplatz station, platform atmosphere, escalator, station/shoppping-area atmosphere6) coming out to the place in front of the vienna opera.

I am playing a 9ft long log of ash wood (fraxinus excelsior) that i cut in half and hollowed out then stuck back together 15 years ago. While i play it i am remembering when i cut it and the place it was growing and the reason i felled it, and remembering when i revisited that place 7 years later and saw the tree growing back so well from the cut. I am remembering/dreaming about all the other times i played it and the reasons why. I am "future dreaming" of what will be its part in the space opera and what effect it will have as well :).

sound walk#2 along oslo's harbour promenade [wav 16 bits 44,1 khz. 00:05:38. 56,9 mb]sound collage with concrete sounds and layers based on a field recording along the oslo harbour promenade (november 9 & 11 2017. Recorded sites are oslo town hall square, vippetangen, the opera, sørenga, lohavn, kongshavn - the harbour promenade eastern part. The soundscape is a work-in-progress, and part of a doctoral study at the faculty of landscape and society, norwegian university of life sciences nmbu. The study explore the urban intertidal and oslo's urban sea areas. The soundscapes are recorded and edited by elin t. Sørensen, visual artist/landscape architect. Mixed and mastering by cato langnes, sound engineer/producer at notam.

This is a submission for sarah belle reid's collaboration prompt for her forthcoming electroacoustic opera. It comprises a dry recording of a male voice reading the following original text describing a moment from a dream:. "this is a story about dreams. It is not about a specific dream, or rather while it takes place in one dream it is about many. From time to time in my dreams i am in a city. Not a particular city, like paris or chicago, but the events of the dream happen in a setting which includes tall buildings and crowded streets and views of the sun setting behind a busy skyline. One time, while having such a dream, i was standing on an arcing bridge over a body of water like a river or canal. The late afternoon sun was to my left, and the warmth of the sunlight contrasted with the cool breeze off the water. As i looked across the curving expanse of water, i was mesmerized by the bright reflections of the sun on the water, on the glass of the windows, across this expansive space. I realized with a start that i recognized a cluster of buildings across the way. I had seen them before, in another dream. In that dream i had been a different person. Rather, in most all of my dreams i am in some way myself, but entangled in a moment from some other life, surrounded by characters and pursuing concerns that are alien to my waking being. In that moment, in this dream, i came to understand that all my dreams that happen in a city are happening in the same city, the same geography and architecture holding dozens of episodic lives i may have between sleeping and waking. ".