Composers

21-30 of 30 videos of music composed by Gaetano Donizetti

La Conocchia (The Dropped Spindle)
La Conocchia (The Dropped Spindle) Composed by: Gaetano Donizetti (1797-1848) From: Nuits d'Été à Pausilippe, no. 5. Ocarina: Maparam AC This was also one of my first classical pieces I learned to sing and it's definitely one of the most fun! Unfortunately, the audio kinda stinks, but this vid was just for fun. Hope you enjoy :) I got a special video coming out towards the end of the week, so stay tuned :) ___________________________________ Lyrics (translated from Italian): When I want to speak to the one I love, because often I want to do that, I sit down spinning at my window when I want to speak to the one I love When he passes by I break the thread a bit1 and with grace begins to ask handsome one, please get it back to me he bends down and I stand watching him and so is lit in me a fire (which will burn) forever! ======= Add Me! ======= Myspace - myspace.com Facebook - www.facebook.com Twitter - twitter.com
Canzoni napoletane I' te voglio bene assaje di F Campanella R Sacco
Canzoni napoletane I' te voglio bene assaje di F Campanella R Sacco I' te voglio bene assaje (R.Sacco- F. Campanella -G.Donizetti?) I' te voglio bene assaje, resta la prima e piu' famosa canzone che fu cantata a Piedigrotta. La musica piacevole ed i versi accattivanti fecero di questa canzone una vera ossessione per i napoletani. La si canto' per anni dappertutto ed in qualsiasi momento. Nacquero rivalita' tali che alcuni autori tentarono, invano, di sminuirla pubblicamente anche attraverso altri componimenti. Roberto Sacco, ottico nella Napoli del secolo scorso, compose la canzone nel 1835 cantandola per scherzo ad una festa tra amici. La leggenda vuole che la melodia del Donizetti (fu davvero lui l'autore della musica?) ed i versi del Sacco furono cantati dal popolo la sera stessa che l'avevano ascoltata in quella festa tra amici. Persino il Clero si interesso' alla cosa e Sacco (per non inimicarsi il Cardinale Riario Sforza) compose una variante "ecclesiale". La canzone porto' grande fama a Sacco ma pochi soldi. Rimase un ottico nella sua bottega, la stessa che oggi i suoi eredi gesticono nello stesso posto. I te voglio bene assaje Pecche' quanno me vide te 'ngrife comm''a gatto? Nenne' che t'aggio fatto? ca no mme puo' vede'? Io t''aggio amato tanto si t'amo tu lo saie Te voglio bene assaie e tu nun pienze a me! 'Nzomma, songo io lo fauzo? Appila, sie' maesta: Ca l'arta toia e' chesta: lo dico mmereta'. Lo jastemma' vuria lo juorno ca t'amaie! Te voglio bene assaie e tu nun pienze a me! La notte tutte dormeno, e io che buo' durmì ...
L'elisir d'amore - Atto 1 - Esulti pur la barbara
L'elisir d'amore - Atto 1 - Esulti pur la barbara Gaetano Donizetti L'elisir d'amore Comic opera in two acts after the comedy Le Philtre by Eugene Scribe Orchestre et Choeur de l'opera de Lyon Conducted by Evelino Pido Nemorino - Roberto Alagna Adina - Angela Gheorghiu Belcore - Roberto Scaltriti Dulcamara - Somine Alaimo Madame Dulcamara - Luce Bekistan Giannetta - Elena Dan
Gaetano Donizetti - L'elisir d'amore - Chiedi all'aura lusinghier
Gaetano Donizetti - L'elisir d'amore - Chiedi all'aura lusinghier The mini-series of uploads from Wallberg's recordings of Donizetti's two great buffo operas continues :)! Adina and Nemorino surprisingly don't actually have a real "suspended-over-time" love duet (similar to, for example, "Tornami a dir"): their first number together narratively follows Adina as she gently pokes fun of Nemorino's sentimental outpourings; while their second duet, a part of the first Finale, finds both characters a bit angry and confused, so no love duettino there. Only in Adina's aria or, to be more precise, its' cabaletta do we get close to the traditional love scene. But the whole thing works without any obligatory nocturnal duettino. The first duet is quite unconventional, mainly due to the fact that it skips the central andante and, after the characters' statements, plunges straight into an impassioned but slowly moving stretta. The music is touching throughout: especially charming are the final two sections ("si, si, si/no, no, no" and the succeeding section) leading up to the climatic Cs from both characters. Lucia Popp and Peter Dvorsky seems to me almost perfect as, respectively, Adina and Nemorino :). Enjoy :)! Your comments will be appreciated.
Rukajärven tie
Rukajärven tie MOVIE Olli Saarela: Rukajärven tie (1999) MUSIC Gaetano Donizetti: L'elisir d'amore (1832) Una furtiva lagrima LYRICS Una furtiva lagrima negli occhi suoi spuntò: quelle festose giovani invidiar sembrò. Che più cercando io vo? Che più cercando io vo? M'ama! Sì, m'ama, lo vedo, lo vedo. Un solo instante i palpiti del suo bel cor sentir! I miei sospir, confondere per poco a' suoi sospir! I palpiti, i palpiti sentir, confondere i miei coi suoi sospir. Cielo, si può morir! Di più non chiedo, non chiedo. Ah! Cielo, si può, si puo morir, Di più non chiedo, non chiedo. Si può morir, si può morir d'amor. One tear that falls so furtively from her sweet eyes has just sprung, as if she envied all the youths who laughingly passed her right by. What could I want more than this? She loves me! Yes, she loves me! I see it, I see it. One moment just to hear her heart, beating so close next to mine, to hear my sighs like they were hers, her sighings as if they were mine! Heavens, please take me now: All that I wanted is mine now!
Una Furtiva Lagrima - Enrico Caruso 1904
Una Furtiva Lagrima - Enrico Caruso 1904 Digitally remastered version of a recording from the 1st of February 1904 (room 826, Carnegie Hall, NY). You may want to look at my non-profit website for more Caruso info: www.enricocaruso.dk (English). I have uploaded all of Caruso's recordings (in different versions there. Una furtiva lagrima (A furtive tear) is the romanza from Act II, Scene 2 of the Italian opera, L'elisir d'amore (The Elixir of Love) by Gaetano Donizetti. It is sung by Nemorino (Caruso) when he finds that the love potion he bought to win his dream lady's heart, Adina, works. Nemorino is in love with Adina, but she isn't interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a "love potion" with all the money he has in his pocket. The "love potion" is actually a cheap red wine sold by a con business traveler. But when he sees Adina weeping, he knows that she has fallen in love with him and the "Elixir" works. Caruso created the role of Nemorino the first time in February 1901 at La Scala in Milan. The conductor was the famous Toscanini, but the notoriously critical and reserved audience of La Scala did not react at all ... until Caruso started singing - and he basically turned the performance from failure to success. The audience went wild and Caruso was compelled to repeat "Una furtiva lagrima" three times. When Toscanini came back stage to go before the curtain with the artists, he embraced Caruso, then turned to the manager of La Scala, Giulio Gatti-Casazza, and ...
Una Furtiva Lagrima
Una Furtiva Lagrima George Komsky singing "Una Furtiva Lagrima" LIVE in Concert at the Herbst Theatre in San Francisco, CA on 11/21/10.
"The Elixir of Love" at Virginia Opera (2008)
"The Elixir of Love" at Virginia Opera (2008) Virginia Opera invites audiences to toast the holidays and fall head-over-heels for Gaetano Donizetti's romantic comedy "The Elixir of Love", coming to the stage in nine romping performances from Nov. 14 through Dec. 6 in Norfolk, Richmond and Fairfax, Va. Last staged here in 1998, "The Elixir of Love" is the classic love potion story, with a comic twist. In the Italian countryside, the young farmer Nemorino drinks a "magical" elixir in the hope it will help him win the love of Adina, the prettiest girl in town. Little does he know the potion, sold to him by a quack doctor, is little more than ordinary red wine. Soprano Jane Redding makes a delightful return to Virginia Opera's stage as Adina, having earned high praise from critics for previous comedic roles here, including Poppea in "Agrippina" (2007) and Susanna in "The Marriage of Figaro" (2006). Making their company debuts are tenor Joshua Kohl as the love struck farmer Nemorino and baritone Stephen Hartley as the debonair Sergeant Belcore. The cast of five is topped off by returning bass-baritone Todd Robinson as the traveling cure-all salesman, Dr. Dulcamara, and soprano Allison Pohl as Gianetta. Mr. Robinson virtually stole the show with his moving aria as Prince Gremin in "Eugene Onegin" earlier this year, and Ms. Pohl is an exciting talent who last season was a member of the company's Spectrum Resident Artist program for young artists. Returning with a re-envisioned staging of "The Elixir of Love" is acclaimed ...
Gaetano Donizetti - L'elisir d'amore - "Tra-la-la-la" (Peter Dvo
Gaetano Donizetti - L'elisir d'amore - "Tra-la-la-la" (Peter Dvo In Italian opera the Act One Finale seems to be the most important part of the whole evening: something very important is bound to happen just before or during the finale, so the whole finale is usually either devoted to something crucial happening between the main characters, to characters reacting to the event or, in some cases, to both things at the same time. Moreover, the emotions usual run very high with lower voices snarling effectively, sopranos and tenors brandishing high Cs and coloratura roulandes, the chorus and comprimarios confused, at best. The First Act Finale to "L'elisir d'amore" really isn't s break of traditon but it can claim fully its' originality of form and of music :)! Despite concert and recording practices, the present finale is actually formed out of three almost independent numbers (but they are connected into a cohesive whole): Adina's and Nemorino's second duet; the subsequent terzettino with Belcore and the finale proper (complete with the traditional "scene - andante - allegro" structure). The duettino starts after a short scene as Nemorino tries to make Adina believe that he is uninterested with her, while the latter is a bit shocked to see her faithful follower turn away from her. A classical contrasting succession of "andante - allegro" is made interesting by the fact that both movements use the same words to show the changing emotions of the characters: Adina is at first unable to understand the sudden change in Nemorino's behavior but ...
Vitas, Lucia di lammermoor
Vitas, Lucia di lammermoor Vitas's unique rendition of the classic Opera song Lucia di lammermoor, this song might be recently recognized if you've seen the movie the fifth element...
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