#Piccaver

[opera-ghosts]

Rare video footage of tenor Alfred Piccaver (1884-1958) singing Walter's "Prize Song" from the opera "Die Meistersinger von Nürnberg" by Richard Wagner.

[hauntedbystorytelling]

Johanny Piccaver, 1917 Atelier d'Ora :: Johanny Piccaver. Role portrait, signed 1917. | src Theatermuseum Wien

[piccave-blog]

Welcome to Piccave. New Way To Explore #hastags on Instagram and Pinterest. We have gathered thousands of online Pinterest posts viewer and Instagram viewer. You can get daily new hashtags for your free Instagram images and share to your Pinterest pinboard.

[todayclassical]

February 05 in Music History

1705 Death of French composer Jean-Gilles in Toulouse. 

1710 FP Bononcini: G. "Muzio Scevola" Vienna.

1748 Birth of German composer Christian Gottlob Neefe in Chemnitz.

1755 Birth of mezzo-soprano Carolina Fredrika Mueller in Copenhagen.

1763 Birth of tenor Charles Incledon in Cornwall. 

1791 Death of tenor John Beard. 

1795 Death of tenor Antoine Trial. 

1810 Birth of Norwegian composer and violinist Ole Bull, in Bergen. 

1818 Birth of composer Samuel Jackson. 

1825 Death of tenor Pierre Gaveaux. 

1852 Marriage of soprano Jenny Lind to her pianist, Otto Goldschmidt. 1862 Birth of Mexican composer Felipe Villanueva in Tecamac, state, Mexico.

1865 Birth of American composer Harvey Worthington Loomis. 

1866 Birth of American composer Rossetter Gleason Cole. 

1868 Birth of Belgian composer Lodewijk Mortelmans in Antwerp. 

1875 Birth of Spanish pianist Ricardo Viñes. 

1884 Birth of tenor Alfred Piccaver in Long Sutton Lincoln. 

1887 FP of Verdi's opera Otello with Toscanini at the cello, at La Scala in Milan.

1894 Birth of tenor William Wernigk in Chemnitz. 

1895 Pianist Rosina Lhevinne debuts with the Moscow Symphony. 1895 FP of Ippolitiv-Ivanov's Caucasian Sketches, in Moscow. The composer conducting. 

1896 Death of composer Henry David Leslie.

1897 FP in USA of Richard Strauss' Also Spracht Zarathustra in Chicago with Theodore Thomas conducting.

1902 Birth of Polish composer Bronislaw Kaper. 

1904 Birth of soprano Erna Schluter in Oldenburg.  

1907 Death of German composer Ludwig Thuille, age 45, in Munich.

1909 Birth of Polish composer Grazyna Bacewicz in Lodz.

1911 Birth of Swedish tenor Jussi Bjorling.

1916 Death of tenor Francesco Marconi.

1917 Birth of Austrian bass-baritone Otto Edelmann in Vienna. 

1921 Birth of English conductor Sir John Pritchard in London.  1926 Birth of French composer Andre Gedalge in Chessy. 

1934 Birth of tenor Pietro Bottazzo in Padua. 

1934 Birth of English conductor and organist John Poole. 1939 FP of Carl Orff's opera Der Mond 'The Moon' at the Nationaltheater, in Munich.

1942 Death of tenor Robert Hutt. 

1943 Birth of French-American composer Ivan Tcherepnin, near Paris.  1945 Birth of Czech tenor Josef Protschka in Prague. 

1945 Birth of American soprano Phyllis Bryn-Julson. 

1951 Birth of tenor Curtis Rayam in Belville, FL. 

1951 Birth of American composer Elizabeth Swados.

1952 Birth of English soprano Marilyn Hill Smith. 

1953 Death of soprano Suzanne Adams. 

1958 FP of Sir Michael Tippett's Symphony No. 2. BBC Symphony, Sir Adrian Boult conducting, in London.

1954 FP at the Lyric Opera of Chicago. Presenting Mozart's Don Giovanni.

1962 Death of bass Leon Bjorker. 

1962 Death of French composer Jacques Ibert, at age 71, in Paris.

1967 Birth of Australian soprano and composer Sonia Jacobsen in Camden, New South Wales.

1969 FP of Thea Musgrave's Clarinet Concerto, in London.

1970 FP of Elliott Carter's Concerto for Orchestra. New York Philharmonic.

1991 Death of baritone John Hargreaves. 

2000 Death of Canadian composer Barbara Pentland. 

2000 Death of baritone Pablo Elvira.

2003 FP of Kaija Saariaho's Terestre. Camilia Hortenga, flute; Felix Fan, cello; Bridget Kibbey, harp; Steven Schick, percussion; Yonah Zur, violin. Weill Recital Hall, Carnegie Hall, NYC.

2004 FP of Stephen Paulus' Paean commissioned by Pat and Reidar Bjorhovde, symphony patrons. Tucson Symphony Orchestra, George Hanson conducting as part of the TSO´s Diamond Jubilee in Tucson, AZ.

2004 FP of Bright Sheng´s The Pheonix. Jane Eagland, soprano. Seattle Symphony, Gerard Schwartz, conducting, in Seattle, WA.

2014 Death of conductor, arranger and composer Richard Hayman.

[artillerystudio]

The Riot Act - Short Film - Trailer from Flat Cap Films on Vimeo.

The Riot Act (2017) Flat Cap Films

Stefan Allesch-Taylor presents A Flat Cap Films Production THE RIOT ACT Written & Directed by: Oliver Riley-Smith Produced by: Kyran Speirs, Andrew Ornitharis, Georgia Goggin Executive Producer: Stefan Allesch-Taylor Executive Producer: Nabeel Sheikh Co-Executive Producer: Charlie Kay Associate Producer: Matthew Piccaver Associate Producer: Kristina Sorge DOP: Sam Care Production Designer: Caroline Steiner Composers: Anil Kamath & Benjamin Speed Editor: Oliver Riley-Smith Casting Director: Irene Cotton Make-Up Designer: Cassi Brookes

STU - Lewis Rainer JEROME - Joivan Wade KYLA - Kiké Brimah FREDDIE - Karl Jackson PHILBIN - Ben Cartwright

[the-amorous-colocynth]

Alfred Hofbauer as Jack Rance, Maria Jeritza as Minnie, and Alfred Piccaver as Dick Johnson in Puccini's Das Mädchen aus dem goldenen Westen

[historicalsingers]

Alfred Piccaver sings Roméo et Juliette in German (1920)

[opera-ghosts]

Alfred Piccaver - Vocalises (Private recording, 1955)

Alfred Piccaver (1884-1958) was born in England…more specifically, in the town of Long Sutton, Lincolnshire….but moved to the U.S. with his family as a child and settled in Albany, New York. It was here that he received his first musical experience, as a boy soprano at St. Peter’s Episcopal Church. Although he trained as an electrical engineer (he actually spent a brief period working for the Edison company), it was his interest in singing that motivated Piccaver during his formative years. He studied at both the Emma Willard Conservatory of Music and the Troy Conservatory before enrolling in the Metropolitan School of Opera at the age of 21. While studying at the Met school, young Piccaver caught the attention of Met general manager, Heinrich Conried, who sent him to Prague for further studies in 1907.

While in Prague, Piccaver was offered a three-year contract by Angelo Neumann of the Deutsches Landes-Theater. His debut occurred in September of 1907 as Roméo in Gounod’s Roméo et Juliette. During his years with the opera in Prague, Piccaver sang a variety of roles including Fenton in Die Lustigen Weiber von Windsor, Lionel in Martha, Rodolfo in La Bohème, Tamino in Die Zauberflöte and the title role in Gounod’s Faust. When his contract ran out, Piccaver left Deutsches Landes-Theater and travelled to Milan for a brief period of further study. The tenor returned to Prague, where he was heard by the legendary baritone Mattia Battistini, who took Piccaver on tour. Among the cities in which Battistini’s troupe performed was Vienna. The artistic directors of the Vienna Hofoper (now the Vienna Staatsoper) were impressed by the tenor’s performances and offered him a contract. Piccaver’s debut with the company was as Fenton in Die Lustigen Weiber von Windsor in the fall of 1912.

Vienna would become Piccaver’s artistic (and personal) home for the next quarter century. Known affectionately as “Picci”, he became the idol of the Viennese public, with appearances in Tosca, Pagliacci, Aïda, Die Meistersinger, Fidelio, Eugen Onegin and other operas. So popular was Piccaver that Emperor Karl I bestowed the title of Kammersänger upon the tenor in 1917. As an American, Piccaver was not interned as an enemy alien during World War I. In fact, he was allowed to move about freely…so long as he remained an active member of the Staatsoper’s roster of singers. This affection, it seems, was quite mutual. When Piccaver was offered a lucrative contract by the Metropolitan Opera, he turned it down, stating that he considered Vienna his home and had no intention of leaving.

Following the war, Piccaver was lured away from Vienna for brief periods. In 1923, he made his Chicago debut as the Duke of Mantua in Rigoletto. He returned to Chicago for other productions over the course of the next two years and made appearances at London’s Covent Garden as the Duke and as Cavaradossi in Tosca in 1924. However, Piccaver never realized the same degree of popularity or success in these venues as he did in Vienna. He returned to the Staatsoper in 1925 and remained there throughout most of the 1930s. He left the company over a salary dispute in 1937, never to return. With the political climate of Central Europe ominously changing, Piccaver thought it wise to leave Austria. In 1938, he returned to his birthplace, England, where he would remain for the next 17 years. Although he retired from the opera stage in his mid-fifties, Piccaver continued giving concerts, making recordings and appearing on radio. In 1955, Piccaver returned Vienna, where he passed away in the fall of 1958 at the age of 74. Alfred Piccaver possessed a solid spinto voice that was ideal for a variety of roles from Verdi to Wagner, Mozart to Massenet. No less an authority than Puccini declared him the ideal Rodolfo and he outshone most of his Teutonic colleagues during his years in Vienna. Yet, Piccaver was a surprisingly insecure man who suffered from crippling stage fright. Even during his prime, he was said to have cancelled more performances than he sang…some only minutes before curtain. Despite this, Alfred Piccaver was consistently forgiven by his fans and enjoyed true celebrity status. Piccaver recorded for Odeon, Vox, Polydor, Brunswick, Decca, H.M.V. and other labels, leaving behind an enormous legacy that spanned some three decades. Here, Piccaver demonstrates his vocal exercises as he warms up before a lesson in his London studio. This exceedingly rare private recording was made in February of 1955 and shows that the 71 year old tenor was still very much in command of his vocal resources.

[opera-ghosts]

Today I remember the Tenor Alfred Piccaver (1884-1958). He was a beloved singer in Vienna more then 20 years. Puccini named him his ideal Rodolfo. Here we see a beautiful photo signed from him 1913 in the role Duke of Mantua in Verdis Rigoletto. Take a view on his biography.

[opera-ghosts]

Alfred Piccaver (1884-1958) was born in England…more specifically, in the town of Long Sutton, Lincolnshire….but moved to the U.S. with his family as a child and settled in Albany, New York. It was here that he received his first musical experience, as a boy soprano at St. Peter’s Episcopal Church. Although he trained as an electrical engineer (he actually spent a brief period working for the Edison company), it was his interest in singing that motivated Piccaver during his formative years. He studied at both the Emma Willard Conservatory of Music and the Troy Conservatory before enrolling in the Metropolitan School of Opera at the age of 21. While studying at the Met school, young Piccaver caught the attention of Met general manager, Heinrich Conried, who sent him to Prague for further studies in 1907. Piccaver had studied in Prague for only a few months when he was offered a three-year contract by Angelo Neumann of the Deutsches Landes Theater. His debut occurred in September of 1907 as Roméo in Gounod’s Roméo et Juliette. During his years with the opera in Prague, Piccaver sang a variety of roles including Fenton in Die Lustigen Weiber von Windsor, Lionel in Martha, Rodolfo in La Bohème, Tamino in Die Zauberflöte and the title role in Gounod’s Faust. When his contract ran out, Piccaver left Deutsches Landes Theater and travelled to Milan for a brief period of further study. The tenor returned to Prague, where he was heard by the legendary baritone Mattia Battistini, who took Piccaver on tour. Among the cities in which Battistini’s troupe performed was Vienna. The artistic directors of the Vienna Hofoper (now the Vienna Staatsoper) were impressed by the tenor’s performances and offered him a contract. Piccaver’s debut with the company was as Fenton in Die Lustigen Weiber von Windsor in the fall of 1912. Vienna would become Piccaver’s artistic (and personal) home for the next quarter century. Known affectionately as “Picci”, he became the idol of the Viennese public, with appearances in Tosca, Pagliacci, Aïda, Die Meistersinger, Fidelio, Eugen Onegin and other operas. So popular was Piccaver that Emperor Karl I bestowed the title of Kammersänger upon the tenor in 1917. As an American, Piccaver was not interned as an enemy alien during World War I. In fact, he was allowed to move about freely…so long as he remained an active member of the Staatsoper’s roster of singers. This affection, it seems, was quite mutual. When Piccaver was offered a lucrative contract by the Metropolitan Opera, he turned it down, stating that he considered Vienna his home and had no intention of leaving. Following the war, Piccaver was lured away from Vienna for brief periods. In 1923, he made his Chicago debut as the Duke of Mantua in Rigoletto. He returned to Chicago for other productions over the course of the next two years and made appearances at London’s Covent Garden as the Duke and as Cavaradossi in Tosca in 1924. However, Piccaver never realized the same degree of popularity or success in these venues as he did in Vienna. He returned to the Staatsoper in 1925 and remained there throughout most of the 1930s. He left the company over a salary dispute in 1937, never to return. With the political climate of Central Europe ominously changing, Piccaver thought it wise to leave Austria. In 1938, he returned to his birthplace, England, where he would remain for the next 17 years. Although he retired from the opera stage in his mid-fifties, Piccaver continued giving concerts, making recordings and appearing on radio. In 1955, Piccaver returned Vienna, where he passed away in the fall of 1958 at the age of 74. Alfred Piccaver possessed a solid spinto voice that was ideal for a variety of roles from Verdi to Wagner, Mozart to Massenet. No less an authority than Puccini declared him the ideal Rodolfo and he outshone most of his Teutonic colleagues during his years in Vienna. Yet, Piccaver was a surprisingly insecure man who suffered from crippling stage fright.

Even during his prime, he was said to have cancelled more performances than he sang…some only minutes before curtain. Despite this, Alfred Piccaver was consistently forgiven by his fans and enjoyed true celebrity status. Piccaver recorded for Odeon, Vox, Polydor, Brunswick, Decca, H.M.V. and other labels, leaving behind an enormous legacy that spanned some three decades.