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Gioachino Rossini - Otello - "Assisa a pie d'un salice" (Frederic
Gioachino Rossini - Otello - "Assisa a pie d'un salice" (Frederic Finally, the most important woman in Rossini's life - mezzo-soprano Isabella Colbran - has an opportunity to enchant us. If we were to choose "a crown jewel" of Barbaja's and Rossini's cast, the choice would be all to obvious: Isabella Colbran. She was one of the first in a line of brilliant dramatic singers that would bless belcanto operas for decades: Pasta, Grisi, de Bengis, Malibran... She appeared in ten Rossini operas, and the love that formed between the primadonna and the maestro is evident in every page of the scores. Except for the rather bland character of Zoraide in "Ricciardo" and, possibly, Zelmira, all roles are incredibly dramatic: Armida and Ermione are anti-heroines, in spite of their tragic situations; Fiorilla is a comic role of unusual proportions; Elcia, Anna, Elena and Desdemona, in spite of being ingenue-like characters, are faced with staggeringly complex situations (indeed, only Elena gets a happy ending, while Anna commits suicide, Elcia's lover is killed before her eyes and Desdemona is killed by Otello); even the less interesting characters of Elisabetta and Semiramide require an unlimited amount of charisma. Although the label "soprano" is often used when describing Colbran's voice, Rossini's music speaks otherwise: she is regularly asked to go down to A flat and even G, while high notes rarely go beyond B; though additions aren't really prohibited, so Colbran roles are essayed by both sopranos and mezzos without any real threat to the music ...
-Galina Vale -classical guitar / "Tarantella" G.Rossini
-Galina Vale -classical guitar / "Tarantella" G.Rossini Galina Vale / "TARANTELLA" G.Rossini-J.Morel www.myspace.com
Rossini - Overture from the "Barber of Seville"
Rossini - Overture from the "Barber of Seville" Gioachino Antonio Rossini (1792 - 1868) "The Barber of Seville", or "The Useless Precaution" ("Il barbiere di Siviglia, ossia L'inutile precauzione") is an opera buffa in two acts by Gioachino Rossini with a libretto (based on Beaumarchais's comedy Le Barbier de Séville) by Cesare Sterbini. The overture, first written for "Aureliano in Palmira", is a famous example of Rossini's characteristic Italian style. The première (under the title Almaviva, or the Useless Precaution) took place on February 20, 1816, at the Teatro Argentina, Rome.
Rossini Barber of Seville Fantasie for Piano 6 hands at Classical Un
Rossini Barber of Seville Fantasie for Piano 6 hands at Classical Un Pepi Pilibossian, Mikael Oganes and Harout Senekeremian perform Rossini's Barber of Seville Fantasie as arranged for Piano 6 Hands by D. Krug, at Classical Underground in Los Angeles, 10-25-10
Gioachino Rossini - Tancredi - "Di tanti palpiti" (Cecilia Bartoli
Gioachino Rossini - Tancredi - "Di tanti palpiti" (Cecilia Bartoli Not one compilation of Rossini's musical output would be complete without his first "hit tune": "Di tanti palpiti", the moderato section (a cabaletta of sorts) from the cavatina of Tancredi. In his biography of the Maestro, Stendhal wrote that the aria of Tancredi, known throughout Europe, was the most popular opera aria of its time... And also refered to as the "rice aria" because Rossini is supposed to have composed it while waiting for his risotto to cook one day in Venice (imagine: a hungry composer composing such a little masterpiece out of boredom :) )! The cavatina deals with Tancredi's return from exile Tancredi to defend his homeland against the Saracene besiegers (and to see Amenaide, of course). Although many recordings of the aria usually give us only the moderato, Tancredi's cavatina is actually a whole scene: an interlude (depicting Tancredi's boat dropping anchor in a port) - an impassioned recitative - a short (and rather boring) aria - a "cabaletta". It's also interesting to point out that the aria is quite "unrossinian" in character, it almost seems to come from another musical period: the moderato section could be attributed to any composer from the end of the 18th century. I decided to post only the "Di tanti palpiti" section for a number of reasons, chief amongst them being the fact that it is really the best part of Tancredi's cavatina. It's almost a suprise when it appears after the rather uninspired cantabile. I once had about ten versions of this ...
Gioachino Rossini - Concert Aria (1813) - "Alle voci della gloria"
Gioachino Rossini - Concert Aria (1813) - "Alle voci della gloria" This virtuoso scene for bass and orchestra, "Alle voci della gloria", a typical "aria di baule" or "suitcase aria" (meaning arias that singers in the nineteenth century carried around with them, should a need arise to sing a piece of suitable demands; sometimes literally in a suitcase :D), generally supposed to have been written by Rossini in 1813 for Filippo Grimani, a Venetian patron, is something of an enigma in the list of Rossini's works, and has a decidedly troubled modern life. It was considered not so long ago (and interpolated as such) as an insertion aria for the completely-sololess Blansac from one of Rossini first operas, "La scala di seta". But there are several signs that, as Philip Gossett rightly points out in his book on performing belcanto, overturn a possibility of Rossini actually considering such an insertion: first off all, we have the text, worthy of opera seria, speaking of a languishing lover, completely lost in his desire to see his beloved again, though the cabaletta is set in a more hopeful mood; then, there is the rich orchestration which includes instruments - trumpets, trombones and percussion - that are actually absent from the earlier opera itself; the level of virtuosity that is asked throughout also seems alien to the comprimario from the farse; finally, there is a question of musical balance, Blansac does not actually need an aria, as it would destroy the balance of the opera where half of the numbers are already traditionally set as ...
Rossini - Sinfonia da "L'Italiana in Algeri" - Quintetto Veneto d
Rossini - Sinfonia da "L'Italiana in Algeri" - Quintetto Veneto d Gioacchino Rossini, finale della sinfonia da "L'Italiana in Algeri" - Quintetto Veneto di fisarmoniche esegue un concerto di musica classica in una villa Palladiana. Presentazione del Compact Disc "Estro Armonico", con la prefazione di Gervasio Marcosignori, oscar mondiale della fisarmonica. MUSICISTI Gianni Bertolini, Nereo Fiori, Massimo Bertolini, Nicola Tamburini e Denis Bruzzo.
Gioachino Rossini - Tancredi - "Di tanti palpiti" (Ewa Podles, Ves
Gioachino Rossini - Tancredi - "Di tanti palpiti" (Ewa Podles, Ves Not one compilation of Rossini's musical output would be complete without his first "hit tune": "Di tanti palpiti", the moderato section (a cabaletta of sorts) from the cavatina of Tancredi. In his biography of the Maestro, Stendhal wrote that the aria of Tancredi, known throughout Europe, was the most popular opera aria of its time... And also refered to as the "rice aria" because Rossini is supposed to have composed it while waiting for his risotto to cook one day in Venice (imagine: a hungry composer composing such a little masterpiece out of boredom :) )! The cavatina deals with Tancredi's return from exile Tancredi to defend his homeland against the Saracene besiegers (and to see Amenaide, of course). Although many recordings of the aria usually give us only the moderato, Tancredi's cavatina is actually a whole scene: an interlude (depicting Tancredi's boat dropping anchor in a port) - an impassioned recitative - a short (and rather boring) aria - a "cabaletta". It's also interesting to point out that the aria is quite "unrossinian" in character, it almost seems to come from another musical period: the moderato section could be attributed to any composer from the end of the 18th century. I decided to post only the "Di tanti palpiti" section for a number of reasons, chief amongst them being the fact that it is really the best part of Tancredi's cavatina. It's almost a suprise when it appears after the rather uninspired cantabile. I once had about ten versions of this ...
Gioachino Rossini - Mose in Egitto - "Ah! Se puoi cosi lasciarmi"
Gioachino Rossini - Mose in Egitto - "Ah! Se puoi cosi lasciarmi" The series of musical excepts from Giachino Rossini's operas, entitled "Master of Belcanto", continues with new uploads and a whole new concept. I decided to do something a bit different for my new upload: a compilation based on a single theme which is featured prominently in all selections. The first theme is love (what else :)?). The compilation is entitled: "Tornami a dir che m'ami". Originally, I had planned a more diverse program which would have included arias as well as duets. But when I saw the size of the content I wanted to upload (the remaining compilation is about two hours long), I decided to do love arias as a separate series. The chosen items include love scenes from the very first to the very last operas by Rossini. We start at "L'occasione fa il ladro" with a simple pastoral duet and finish at the beginning of the second act of "Guillaume Tell" with a romantic grand scena. Such an approach gives us a chance to understand how Rossini's composing style changed with each passing year. The presented excepts are listed below with some notes detailing their characteristics. As the whole compilation is quite large, I'm going to upload everything slowly. 1) «Se non m'inganna il core» for Alberto and Berenice from «L'occasione fa il ladro». www.youtube.com 2) «Quanto e dolce a un'alma amante» for Florville and Sofia from "Il Signor Bruschino". www.youtube.com 3) "L'aura che intorno spiri" for Amenaide and Tancredi from "Tancredi". www.youtube.com 4) "Credete alle ...
Rossini - The Barber of Seville - Figaros Aria
Rossini - The Barber of Seville - Figaros Aria The Barber of Seville, or The Useless Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with a libretto (based on Pierre Beaumarchais's comedy Le Barbier de Seville) by Cesare Sterbini. The overture, first written for Aureliano in Palmira, is a famous instance of Rossini's characteristic Italian style.
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