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hatsune miku singing in realtime! (リアルタイムで歌う初音ミク)

4:11
A little demonstration of the Vocaloid2 Realtime 'VST synth' plug-in. It comes with Vocaloid2. Grab yourself a freeware 'VST host' program such as Cantabile Lite, load that Vocaloid2 plug-in and you can have Miku singing at your demand. :P Enjoy the demo. I know I spelt 'Cantabile' as 'Cantabille' on the video - sorry, Cantabile. EDIT: Damn YouTube and its audio/video de-syncing ways! <_< I specifically spent time making it in sync... ボーカロイドのリアルタイムVST synthのプラグイン...少しのデモンストレーション。ボーカロイド2と来るです。Cantabile Liteなどのフリーウェアの'VST host'のプログラムを得て、それからそのボーカロイド2のプラグインをロードしたら、あなたの要求のときに歌うミクさんを持つことができます！ｗデモンストレーションを楽しんでください! 俺はビデオで'Cantabile'を'Cantabille'にタイプしたことは知ってる。ごめん、Cantabile.
タグ:hatsune miku voice sing vocaloid realtime
投稿日: December 26, 2007, 5:49 am
閲覧数: 2186
投票: 4.70(５点満点) 20 人の平均

seattle city カンタービレ sing gloria - bach b minor mass

3:00
Crosby Brothers and other Choir members singing Bach!
タグ:robert crosby chris
投稿日: April 30, 2008, 2:13 am
閲覧数: 154
投票: 2.50(５点満点) 2 人の平均

のだめカンタービレ amv- melody

4:03
ENJOY!!! lyrics: yuku saki mo mitsukarazu ate mo naku aruiteta aoi aoi sora no naka ni ukabu FUWAFUWA fuusen no you ni nani wo shite ii no kamo wakaranai hibi no naka de totsuzen arawareta music in my heart, singing a song dare mo inai kurai heya chiisana mado kara sashikomu hikari * melody melody tsurai kimochi yasashii neiro de sotto kanadeta kyoku kuchizusamou... ookina ki ni hikkakatteta fuusen no shiroi himo ga kidzukanai aida ni torete tonde tta sing one's heart out nanika ni tayoritakute sasaete hoshii toki ni wa PIANO no mae ni sawaru yo * repeat melody melody melody melody tsurai kimochi yasashii neiro de sotto kanadeta kyoku melody melody melody dala la la... melody english: I wandered around aimlessly Unable even to find somewhere to go It floats in the blue, blue sky Light as a balloon In those days When I didn't even know what I was allowed to do It suddenly appeared Music in my heart, singing a song In the dark room with nobody in it Light shines in through the small window Melody melody I'll quietly sing the song I've made With a painful feeling, a gentle melody... The white thread of the balloon Got caught in a big tree And before I knew what was happening It snapped and the balloon flew away, sing one's heart out When I want to something to depend on Something to support me I sit down in front of the piano Melody melody I'll quietly sing the song I've made With a painful feeling, a gentle melody... Melody melody Melody melody I'll quietly sing the song I've made With a painful feeling, a gentle melody... Melody melody Melody dala la la... Melody
タグ:nodame cantabile amv anime ayaka
投稿日: December 24, 2007, 8:35 am
閲覧数: 2888
投票: 4.80(５点満点) 10 人の平均

myc farewell concert (5/09)-psalm/ dark around us

4:15
Ragazzi and Cantabile sing Malcolm Dalglish's "Psalm of the Solstice" and "The Dark Around Us"
タグ:choir madison youth choirs dalglish choral
投稿日: October 2, 2008, 3:29 am
閲覧数: 27
投票: 0.00(５点満点) 0 人の平均

seattle city カンタービレ singing bach - credo と patrem

4:30
Two beautiful songs from Bachs B Minor Mass.
タグ:robert crosby chris
投稿日: April 30, 2008, 2:18 am
閲覧数: 81
投票: 0.00(５点満点) 0 人の平均

カンタービレ - in a singing style

3:26
Title: Cantabile Performed by: Elita Lawalata Written by: Natalia Sandjaja
タグ:lia
投稿日: July 9, 2007, 2:08 am
閲覧数: 73
投票: 0.00(５点満点) 0 人の平均

seattle city カンタービレ singing bach b minor mass - sanctus

3:23
Annual Spring Concert
タグ:robert crosby chris
投稿日: May 2, 2008, 1:33 pm
閲覧数: 45
投票: 0.00(５点満点) 0 人の平均

orca sing 2008

5:17
City Cantabile Choir Orca Sing 2008
タグ:fred west bob crosby chris
投稿日: August 16, 2008, 6:15 am
閲覧数: 27
投票: 0.00(５点満点) 0 人の平均

gaetano donizetti - don pasquale - "cerchero lontana terra" (francisco araiza)

5:22
As I have already poured all of my enthusiasm on obtaining these two recordings in the previous posts, I've decided to return to my favorite type of description :). Ernesto's role in "Don Pasquale" is, in many ways, similar to Lindoro's in "L'italiana". They are both young men, both can be easily classified as "Pierrot-type" characters, both are very nice people but lacking in control over their own lives (unlike their respective lovers); both are given wonderfully beautiful music to sing. And both are a bit overshadowed by the basses and the heroines. Indeed, Ernesto has the smallest part of all four main soloists in "Don Pasquale". But the music more than makes up for what the part may lack in size. Ernesto's poignant Second Act aria would have to be one of the best pieces Donizetti ever wrote for the tenor voice. It's a typical succession of "cantabile - cabaletta" but an excellent one at that. That is especially true of the cantabile with its "crying" accompaniment and sentimental text. The section is actually quite short but it is infused with such strong emotions that one feels a very good balance between the size and depth of the aria. The cabaletta may seem a bit jolly at first, but the sadness is brilliantly hidden between the lines in the sudden bursts of solo instruments. Francisco Araiza's excellent portrayal present a very fine Ernesto indeed :)! Uploaded on a request (I'll post more, if anyone wants to hear something particular).
タグ:donizetti coloratura belcanto tenor classical
投稿日: August 4, 2008, 8:38 pm
閲覧数: 237
投票: 4.40(５点満点) 7 人の平均

which of se two finales works better? - gaetano donizetti - zoraida di granata - "inni al forte guerriero" (1824 finale) (bruce ford, majella cullagh, diana montague, matw hargreaves, cristina pastorello と dominic natoli) - no. 1. カンタービレ

10:58
It was with his seventh opera, "Zoraida di Granata", premiered in Rome in 1822 that the young Gaetano Donizetti made his decisive breakthrough into the career of a full time composer. Indeed, the three hour opera is strikingly complex coming from someone so young. As usual in the operatic world, the piece had to overcome several obstacles. Misfortune actually began prior to the premiere when the young tenor contracted for the role of Abenamet burst a blood vessel in his throat (singing the second tenor part in a performance of Pacini's opera "Cesare in Egitto", Sbigoli took part in a quintet with first tenor Domenico Donzelli, in the course of which Sbigoli's character was to sing a phrase "closely resembling one sung just previously by Donzelli"; attempting to match Donzelli's powerful voice, Sbigoli overstrained himself and burst a blood vessel in his neck) and died within a few weeks. With no replacement available to sing the high-lying tessitura, Donizetti hastily re-wrote the role for contralto and in doing so he had to omit several items written for the tenor. The work was further revised in 1824 and given at the same theatre; but in the revised version the role of Abenamet was actually intended for contralto, but one whose status, vocal qualities and demands were far greater than the late substitute singer of the first production, meriting two full arias. Thus, we get two works which, though sharing several pieces, are quite different from one another. I do think that it would be interesting to try and judge the different merits of the works by examining their respective finales. The interest for me lies here in which of the two finales is best in describing the turmoils the characters find themselves. This I leave to the people to comment upon themselves, while I will try and describe the pieces themselves and offer my own ideas on the numbers in question. The finales share several important characteristics, including the story that they are representing and the overall structure. The narrative follows Abenamet, a general of the Moors, returning triumphantly after defeating whatever enemy the people is fighting during the opera (it's not really important). He is greeted by an adoring populace, his beloved, Zoraida, and Almuzir, the murderous usurper of the throne of Granada who is thinking of marrying Zoraida himself. The lovers happiness turns to tragedy as Ali, Almuzir's lackey, runs in announcing that Abenamet has committed high treason by leaving the armys flag for the enemy to take. With this the general is dishonored and taken to jail to the delight of Almuzir and the turmoil of Zoraida and the populace. This story is told through the same musical succession: a rejoicing opening chorus set apart by the lovers excited ariosos a terzettino for the lovers, celebrating their love, and Almuzir, preparing to see his rival being destroyed a scene, as Ali announces the sad news a concentrated sextet as everyone reacts to the new development a tempo di mezzo leading to the final stretta. This one is the revised 1824 finale. Its much more refined that the earlier one, but I find myself missing the charm of the earlier version which is more warm in its' painting of the emotions. Here is a list of the performers: Almuzir - Bruce Ford, Zoraida - Marjella Cullagh, Abenamet - Diana Montague, Ali - Matthew Hargreaves, Ines - Cristina Pastorello, Almanzor - Dominic Natoli. The piece opens with another lively opening chorus, similar to the early version. Zoraida's arioso is more lyrical, better integrated into the proceedings and is integrated into the repeat of the chorus. The following terzettino is less strictly structured that it was earlier. It opens with a lengthy scene as Almuzir greets the returning hero. The terzettino itself is built classically: each protagonist enters separately, while the previous soloists is brought into the background. The succeeding cantabile of shock is the classical suspension over time we are used to chez Donizetti: virtually unaccompanied flowing lines of the soloists are then resolved by the addition of the chorus' doted line; finally, the coda is elaborated significantly by Zoraida's and Abenamet's elaborate lines. The finish is again preceded by ariosos for all three protagonists. The final stretta is surprisingly catchy in melody and is the true highlight of the finale. Enjoy :)!
タグ:donizetti coloratura belcanto classical
投稿日: October 12, 2008, 10:44 pm
閲覧数: 0
投票: 0.00(５点満点) 0 人の平均

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