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more... Dream Wife 1953 
2009-05-03 - extension: rar - parts: 4 - size: 204 MB
Dream Wife 1953
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Tribute to Charlie Drake by Alan Lee
Charlie Drake 1925-2006 Actor, Writer, Singer & Comedian With his diminutive (5ft 1in) stature, (More) Charlie Drake 1925-2006 Actor, Writer, Singer & Comedian With his diminutive (5ft 1in) stature, blond curly hair, childlike manner and penchant for knockabout slapstick, Charlie Drake (born Charles Springall in London on 19 June 1925) was, particularly in the early years of his career, a popular comedian with children. However, upon broadening his appeal and finding a wider and more adult audience, he became one of the most popular entertainers on British television in the late 1950s and 1960s. Drake appears to have made his television debut in an episode of The Centre Show (BBC) on 7 July 1953, in the period when he was an aspiring stand-up comic. In 1954, however, having failed to progress in this venture, he teamed up with lanky 6ft 4in comedian Jack Edwardes to form a double-act (they had first met during war service). Following their 1954 appearance in the talent show Showcase (BBC), the distinctive-looking pair refashioned their act to appeal more to children, adopting the stage names 'Mick and Montmorency' (Drake was the latter). As such they made appearances in the children's magazine series Jigsaw (BBC, 1954-55), followed by Mick and Montmorency (ITV, 1955-58), occasionally billed under the title Jobstoppers. Eager to break away from being seen as purely a children's entertainer, Drake had begun to appear as a solo act in guest spots on the BBC from 1956, and dissolved his partnership with Edwardes shortly after their last ITV series. Co-writing all his material (which he did throughout his comedy career), he began to establish himself as a comedy star appealing to all age groups with Laughter in Store (BBC, tx. 3/1/1957), followed by such BBC series as Drake's Progress (1957-58), Charlie Drake In... (1958-60), and The Charlie Drake Show (1960-61). This television fame led to four disappointing attempts at film stardom between 1960 and 1967: Sands of the Desert (d. John Paddy Carstairs, 1960), Petticoat Pirates (d. David MacDonald, 1961), The Cracksman (d. Peter Graham Scott, 1963) and Mr. Ten Per Cent (d. Peter Graham Scott, 1967). In 1963, he returned to ITV, where he was to remain for the rest of his comedy career, apart from the one BBC series, The Charlie Drake Show (1967-68), from which a compilation of sketches won him the Charles Chaplin Award for Best Comedy at the 1968 Montreux Television Festival. His ITV series included The Charlie Drake Show (1963), Who Is Sylvia? (1967) and Slapstick and Old Lace (1971), but it was The Worker (1965-70), with Drake as the proverbial little man who is unable to hold down a job, which enjoyed the greatest popularity. With what proved to be his last regular spot on television, in the variety show Bruce Forsyth's Big Night (ITV, 1978), he reprised the Worker format in a series of ten-minute sketches. Although he was to make the occasional comic guest appearance on television after 1978, Drake largely concentrated on straight drama, with Shakespeare and Pinter on stage and well-received performances on television as the unscrupulous moneylender Smallweed in Bleak House (BBC, 1985), one of a party of Welshmen on a wife-hunting mission in Filipina Dreamgirls (BBC, tx. 15/9/1991) and, stretching credibility to its limits, as a crime boss in an episode of the thriller series 99-1 (ITV, 1994-95). Drake suffered a serious stroke in 1995 and did not work since, classing himself as 'semi-retired'. He died on 24 December 2006. Words by John Oliver (Less)
Nicolai GEDDA Famous Tenor Reciting Spoken Russian Lyrics Of SAD
This video document is absolutely unique and exceptional, as it has never been issued before, nor (More) This video document is absolutely unique and exceptional, as it has never been issued before, nor was it ever shown to anyone until this very first day This personal archive is related to the greatest Maestro Nicolai GEDDA who is internationally considered by most operatic connoisseurs – from all over the world - as being assuredly one of the greatest tenor of all times The Swedish tenor Nicolai Gedda (born July 11, 1925) is a famous opera singer and recitalist. Having made some two hundred recordings, Gedda is said to be the most widely-recorded tenor in history. Gedda's singing is best known for his beauty of tone, vocal control, and musical perception. Nicolai Harry Gustav Gedda (Nikolaj Ustinov in Russian) was born in Stockholm to a Swedish mother and a Russian father. His father, a distant relative of Peter Ustinov, sang bass in a Don Cossack choir and was cantor in a Russian Orthodox church. Gedda grew up bilingual and learned English, German, Italian, and Latin. Gedda began his professional career as a bank teller in a local bank in Stockholm. One day a wealthy client overheard him speaking about his desire to sing professionally, and offered to pay for his tuition to study with Carl Martin Öhman, a well known Wagnerian tenor from the 1920s who also discovered Jussi Björling. An early appraisal of Gedda's singing was offered by Walter Legge, after first hearing Gedda sing for the role of Dimitry in a planned recording of Boris Godunov. "On my arrival at the airport I was asked by a swarm of journalists if I were not interested in hearing their excellent young Swedish voices. Naturally I was interested, but I did not expect either the front page stories that appeared next morning or the mass of letters and almost incessant telephone calls asking to be heard. I had to ask the Director of the Opera for a room for a couple of days to hear about 100 young aspirants. The first to sing to me (at 9.30 in the morning) was Gedda who had I believe sung only once in public. He sang the Carmen Flower Song so tenderly yet passionately that I was moved almost to tears. He delivered the difficult rising scale ending with a clear and brilliant B flat. Almost apologetically I asked him to try to sing it as written -- pianissimo, rallentando and diminuendo. Without turning a hair he achieved the near-miracle, incredibly beautifully and without effort. I asked him to come back at 8 that evening and sent word to my wife that a great singer had fallen into my lap and to Dobrowen that, believe it or not, this 23-year-old Gedda was the heaven-sent Dimitry for our Boris. In April 1952, at the age of 26, Gedda made his debut at the Royal Swedish Opera, performing the role of Chapelou in Adolphe Adam's Le Postillon de Longjumeau. In this same year he also performed the role of Nicklausse in Offenbach's The Tales of Hoffmann and the tenor role in Der Rosenkavalier. After an audition in Stockholm, Gedda gained the attention of conductor Herbert von Karajan, who took him to Italy. In 1953, he made his début at La Scala as Don Ottavio in Don Giovanni. In 1954, he made his Paris Opera debut in the tenor role in Weber's Oberon, and was given a permanent contract for several years. In 1957, Gedda made his Metropolitan Opera début in the title role of Gounod's Faust, and went on to sing 28 roles there over the next 26 years, including the world premieres of Barber's Vanessa and Menotti's The Last Savage. Gedda made his Royal Opera House Covent Garden début in 1954 as the Duke of Mantua in Verdi's Rigoletto and has since returned to sing Benvenuto Cellini, Alfredo, Gustavus III in Un Ballo in Maschera, Nemorino and Lensky. A singer of unusual longevity, Gedda has been active well into his late 70s; in May 2001 he recorded the role of the Emperor Altoum in Puccini's Turandot and the role of the High Priest in Mozart's Idomeneo in June 2003. Harry Gustaf Nikolaj Gädda, plus connu sous le nom de Nicolai Gedda, né le 11 juillet 1925 à Stockholm, est un ténor suédois. De par son beau-père russe Mikhaïl Ustinov, il est apparenté à Peter Ustinov. Après de jeunes années passées en Allemagne et une première formation musicale à Leipzig, il débute sur scène en 1952, dans sa ville natale, et continua à chanter jusque dans les années 1990. De tous les ténors de renom du XXe siècle, Nicolai Gedda a certainement été le plus polyglotte - il maîtrisait à la perfection aussi bien le suédois, le russe, l'allemand et l'anglais que l'italien et le français - et celui qui a laissé la discographie la plus abondante. Son répertoire comprenait une cinquantaine d'opéras différents (dont tous les grands opéras mozartiens), ainsi qu'un nombre imposant d'oratorios, de messes et de cantates. Sa voix claire et chaleureuse, très flexible, puissante, convenait idéalement aux rôles lyriques. S'il n'a jamais pu chanter Siegfried, il était un Belmonte ou un Tamino parfait. Discographie sélective La Flûte enchantée/Mozart/Otto Klemperer Passion selon Saint Matthieu/Johann Sebastian Bach/Klemperer The Dream of Gerontius/Edward Elgar/Adrian Boult Lady Macbeth de Mzensk/Dmitri Chostakovitch/Mstislav Rostropovitch Boris Godounov/Modeste Moussorgsky/Jerzy Semkow Madame Butterfly/Giacomo Puccini/Herbert von Karajan Rigoletto/Giuseppe Verdi/Francesco Molinari-Pradelli (Less)
Tribute to Charlie Drake by Alan Lee Charlie Drake 1925-2006 Actor, Writer, Singer & Comedian With his diminutive (5ft 1in) stature, (More) Charlie Drake 1925-2006 Actor, Writer, Singer & Comedian With his diminutive (5ft 1in) stature, blond curly hair, childlike manner and penchant for knockabout slapstick, Charlie Drake (born Charles Springall in London on 19 June 1925) was, particularly in the early years of his career, a popular comedian with children. However, upon broadening his appeal and finding a wider and more adult audience, he became one of the most popular entertainers on British television in the late 1950s and 1960s. Drake appears to have made his television debut in an episode of The Centre Show (BBC) on 7 July 1953, in the period when he was an aspiring stand-up comic. In 1954, however, having failed to progress in this venture, he teamed up with lanky 6ft 4in comedian Jack Edwardes to form a double-act (they had first met during war service). Following their 1954 appearance in the talent show Showcase (BBC), the distinctive-looking pair refashioned their act to appeal more to children, adopting the stage names 'Mick and Montmorency' (Drake was the latter). As such they made appearances in the children's magazine series Jigsaw (BBC, 1954-55), followed by Mick and Montmorency (ITV, 1955-58), occasionally billed under the title Jobstoppers. Eager to break away from being seen as purely a children's entertainer, Drake had begun to appear as a solo act in guest spots on the BBC from 1956, and dissolved his partnership with Edwardes shortly after their last ITV series. Co-writing all his material (which he did throughout his comedy career), he began to establish himself as a comedy star appealing to all age groups with Laughter in Store (BBC, tx. 3/1/1957), followed by such BBC series as Drake's Progress (1957-58), Charlie Drake In... (1958-60), and The Charlie Drake Show (1960-61). This television fame led to four disappointing attempts at film stardom between 1960 and 1967: Sands of the Desert (d. John Paddy Carstairs, 1960), Petticoat Pirates (d. David MacDonald, 1961), The Cracksman (d. Peter Graham Scott, 1963) and Mr. Ten Per Cent (d. Peter Graham Scott, 1967). In 1963, he returned to ITV, where he was to remain for the rest of his comedy career, apart from the one BBC series, The Charlie Drake Show (1967-68), from which a compilation of sketches won him the Charles Chaplin Award for Best Comedy at the 1968 Montreux Television Festival. His ITV series included The Charlie Drake Show (1963), Who Is Sylvia? (1967) and Slapstick and Old Lace (1971), but it was The Worker (1965-70), with Drake as the proverbial little man who is unable to hold down a job, which enjoyed the greatest popularity. With what proved to be his last regular spot on television, in the variety show Bruce Forsyth's Big Night (ITV, 1978), he reprised the Worker format in a series of ten-minute sketches. Although he was to make the occasional comic guest appearance on television after 1978, Drake largely concentrated on straight drama, with Shakespeare and Pinter on stage and well-received performances on television as the unscrupulous moneylender Smallweed in Bleak House (BBC, 1985), one of a party of Welshmen on a wife-hunting mission in Filipina Dreamgirls (BBC, tx. 15/9/1991) and, stretching credibility to its limits, as a crime boss in an episode of the thriller series 99-1 (ITV, 1994-95). Drake suffered a serious stroke in 1995 and did not work since, classing himself as 'semi-retired'. He died on 24 December 2006. Words by John Oliver (Less)
Nicolai GEDDA Famous Tenor Reciting Spoken Russian Lyrics Of SAD This video document is absolutely unique and exceptional, as it has never been issued before, nor (More) This video document is absolutely unique and exceptional, as it has never been issued before, nor was it ever shown to anyone until this very first day This personal archive is related to the greatest Maestro Nicolai GEDDA who is internationally considered by most operatic connoisseurs – from all over the world - as being assuredly one of the greatest tenor of all times The Swedish tenor Nicolai Gedda (born July 11, 1925) is a famous opera singer and recitalist. Having made some two hundred recordings, Gedda is said to be the most widely-recorded tenor in history. Gedda's singing is best known for his beauty of tone, vocal control, and musical perception. Nicolai Harry Gustav Gedda (Nikolaj Ustinov in Russian) was born in Stockholm to a Swedish mother and a Russian father. His father, a distant relative of Peter Ustinov, sang bass in a Don Cossack choir and was cantor in a Russian Orthodox church. Gedda grew up bilingual and learned English, German, Italian, and Latin. Gedda began his professional career as a bank teller in a local bank in Stockholm. One day a wealthy client overheard him speaking about his desire to sing professionally, and offered to pay for his tuition to study with Carl Martin Öhman, a well known Wagnerian tenor from the 1920s who also discovered Jussi Björling. An early appraisal of Gedda's singing was offered by Walter Legge, after first hearing Gedda sing for the role of Dimitry in a planned recording of Boris Godunov. "On my arrival at the airport I was asked by a swarm of journalists if I were not interested in hearing their excellent young Swedish voices. Naturally I was interested, but I did not expect either the front page stories that appeared next morning or the mass of letters and almost incessant telephone calls asking to be heard. I had to ask the Director of the Opera for a room for a couple of days to hear about 100 young aspirants. The first to sing to me (at 9.30 in the morning) was Gedda who had I believe sung only once in public. He sang the Carmen Flower Song so tenderly yet passionately that I was moved almost to tears. He delivered the difficult rising scale ending with a clear and brilliant B flat. Almost apologetically I asked him to try to sing it as written -- pianissimo, rallentando and diminuendo. Without turning a hair he achieved the near-miracle, incredibly beautifully and without effort. I asked him to come back at 8 that evening and sent word to my wife that a great singer had fallen into my lap and to Dobrowen that, believe it or not, this 23-year-old Gedda was the heaven-sent Dimitry for our Boris. In April 1952, at the age of 26, Gedda made his debut at the Royal Swedish Opera, performing the role of Chapelou in Adolphe Adam's Le Postillon de Longjumeau. In this same year he also performed the role of Nicklausse in Offenbach's The Tales of Hoffmann and the tenor role in Der Rosenkavalier. After an audition in Stockholm, Gedda gained the attention of conductor Herbert von Karajan, who took him to Italy. In 1953, he made his début at La Scala as Don Ottavio in Don Giovanni. In 1954, he made his Paris Opera debut in the tenor role in Weber's Oberon, and was given a permanent contract for several years. In 1957, Gedda made his Metropolitan Opera début in the title role of Gounod's Faust, and went on to sing 28 roles there over the next 26 years, including the world premieres of Barber's Vanessa and Menotti's The Last Savage. Gedda made his Royal Opera House Covent Garden début in 1954 as the Duke of Mantua in Verdi's Rigoletto and has since returned to sing Benvenuto Cellini, Alfredo, Gustavus III in Un Ballo in Maschera, Nemorino and Lensky. A singer of unusual longevity, Gedda has been active well into his late 70s; in May 2001 he recorded the role of the Emperor Altoum in Puccini's Turandot and the role of the High Priest in Mozart's Idomeneo in June 2003. Harry Gustaf Nikolaj Gädda, plus connu sous le nom de Nicolai Gedda, né le 11 juillet 1925 à Stockholm, est un ténor suédois. De par son beau-père russe Mikhaïl Ustinov, il est apparenté à Peter Ustinov. Après de jeunes années passées en Allemagne et une première formation musicale à Leipzig, il débute sur scène en 1952, dans sa ville natale, et continua à chanter jusque dans les années 1990. De tous les ténors de renom du XXe siècle, Nicolai Gedda a certainement été le plus polyglotte - il maîtrisait à la perfection aussi bien le suédois, le russe, l'allemand et l'anglais que l'italien et le français - et celui qui a laissé la discographie la plus abondante. Son répertoire comprenait une cinquantaine d'opéras différents (dont tous les grands opéras mozartiens), ainsi qu'un nombre imposant d'oratorios, de messes et de cantates. Sa voix claire et chaleureuse, très flexible, puissante, convenait idéalement aux rôles lyriques. S'il n'a jamais pu chanter Siegfried, il était un Belmonte ou un Tamino parfait. Discographie sélective La Flûte enchantée/Mozart/Otto Klemperer Passion selon Saint Matthieu/Johann Sebastian Bach/Klemperer The Dream of Gerontius/Edward Elgar/Adrian Boult Lady Macbeth de Mzensk/Dmitri Chostakovitch/Mstislav Rostropovitch Boris Godounov/Modeste Moussorgsky/Jerzy Semkow Madame Butterfly/Giacomo Puccini/Herbert von Karajan Rigoletto/Giuseppe Verdi/Francesco Molinari-Pradelli (Less)
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