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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 - 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 ...
KONSTANTIN LIFSCHITZ F. LISZT MEPHISTO WALTZ No. 1 (1)
KONSTANTIN LIFSCHITZ F. LISZT MEPHISTO WALTZ No. 1 (1) Franz Liszt Mephisto Waltz No. 1 at the Miami International Piano Festival in Lecce, Italy 2005 miamipianofestival piano classical
Andreas Scholl | "Ombra mai fu", by Georg Friedrich Haendel (from
Andreas Scholl | "Ombra mai fu", by Georg Friedrich Haendel (from Andreas Scholl "A Voice amongst past, present and future" A Tribute for the 250th Death Aniversary of Georg Friedriech Haendel (London, April 14, 1759) Music: Aria "Ombra mai fu", by Georg Friedrich Haendel from opera "Xerxes" (1738) - The images at 2:14 and 2:22 ar works of the photographer Eric Larrayadieu - The images of sculptures represent some work of Giacomo Serpotta (1656 - 1732) from Santa Cita Chapel, in Palermo (Sicily). Andreas Scholl (born November 10, 1967) is a German countertenor, a male classical singer in the alto vocal range. He specialises in Baroque music. His range is the same as that of the celebrated 18th century alto castrato, Senesino, for whom Handel wrote his greatest alto roles. Fanfare Magazine says: "There are more excellent countertenors before the public today than ever before, but one stands out above all others, as Caruso among tenors a century ago: Andreas Scholl". More: en.wikipedia.org Andreas Scholl (nato il 10 Novembre del 1967) è un controtenore tedesco, ossia un cantante lirico classico capace di cantare nella tessitura per soprano. E' specializzato nel repertorio musicale barocco. La sua estensione vocale è la stessa del Senesino, celebre castrato del XVIII secolo, per il quale Georg Friedrich Haendel scrisse alcune delle sue più belle arie. Su Fanfare magazine è apparso il seguente giudizio: "Oggi ci sono tantissimi controtenori che si esibiscono davanti al pubblico, quanto mai era avvenuto prima d'ora, ma uno si distacca da ...
Dmitri Hvorostovsky - "Zhuravli (The Cranes)" - Yan Frenkel - Alex
Dmitri Hvorostovsky - "Zhuravli (The Cranes)" - Yan Frenkel - Alex Frenkel was born in Kiev, Ukraine. He was originally taught violin by his father, and later studied classical violin at the Kiev Conservatory under Yakob Magaziner . During the Second World War he was evacuated to Orenburg, where he studied at the Orenburg Zenitnoe Uchilishche, and played the violin in the orchestra of the Avrora Cinema. After the war he lived in Moscow, where he wrote orchestral arrangements and played the violin in various restaurants of the city. He began composing songs in the 1960s. His first was the song Gody ('The Years'), written to lyrics by Mark Lisianski. During his later career he worked in collaboration with many prominent Soviet musicians, including Mikhael Tanich, Igor Shaferan, and the husband and wife team Konstantin Vanshenkin and Inna Goff. Thanks to Mark Bernes his song Zhuravli ('The Cranes', lyrics by Rasul Gamzatov) became a major hit. Frenkel gave concerts in which he performed his own music. During these concerts the audience would generally join in. His songs were included in the repertoire of many Soviet performers. He also appeared in the movie The Elusive Avengers, for which he composed a score. Yan Frenkel died on August 5, 1989 in Riga (as foreshadowed in his song Avgust ('August') to the lyrics of Inna Goff). His wife Natalia died in the mid 1990s, but his daughter Nina has lived in Italy since the 1980s. His grandson Ian Frenkel is a musician (pianist and arranger) in the United States Coast Guard Band ...
Swan Lake Ballet Tchaikovsky Act 1 part 1
Swan Lake Ballet Tchaikovsky Act 1 part 1 Academical Orchestra St. Petersburg Conductur : W. Fedotov Choreography: Marius Petipa/Leonid Ivanov Ballet of the Kirov Theatre St. Petersburg Odette/Odile : Yelena Yevteyeva Siegfried : John Markovsky Rothbart : Makhmud Esambayev The Fool : Valery Panov The Prince´s Mother : Alla Kabarova Servant : Viktor Ryazanov Historical Recording from 1968 Screen Adaption : Konstantin Sergeyev Director : Appollinary Dudko The four-act ballet Swan Lake,based on a German fairy tale and with music by Peter Ilyich Tchaikovsky,was first produced in Moscow in 1877 at the Bolshoi Theatre with a choreography by Julius Reisinger and was a total failure.After Tchaikovsky´s death in 1893,a memorial to the composer presented the second act,succesfully recoreographed by Lev Ivanov.In 1895 a completely new version of the ballet,choreographed by Ivanov and Marius Petipa was staged at the Mariinsky Theatre in St. Petersburg and this time the ballet received the appreciation that it had rightfully deserved.The new choreography fulfilled the expectations of the Russian public as it added an element of "pressure" to the copmosition. This recording presents a "classical" staging of the ballet from 1968 which based on the Ivanov/Petipa choreography.This Russian screen version of Swan Lake is a colourful and magnificent version of one of the ballet classics of all time,performed by the world.famous Kirov ensemble.
Zdeněk Fibich Piano Quintet (1st mvt.) [w/ score]
Zdeněk Fibich Piano Quintet (1st mvt.) [w/ score] Zdeněk Fibich (December 21, 1850 October 15, 1900) was a Czech composer of classical music, including chamber works (including two string quartets, a piano trio, piano quartet and a quintet for piano, strings and winds), symphonic poems, three symphonies, at least seven operas, the most famous probably Šárka and The Bride of Messina; melodramas including the substantial trilogy Hippodamia, liturgical music including a mass - a missa brevis; and a large cycle (almost 400 pieces, from the 1890s) of piano works called Moods, Impressions, and Reminiscences among other works. The piano cycle served as a diary of sorts of his love for a piano pupil. He was born in Všebořice (Šebořice) near Čáslav.
Joseph Haydn 1732 31 May 1809 Symphony no 88 Omagiu
Joseph Haydn 1732 31 May 1809 Symphony no 88 Omagiu English: (Franz) Joseph Haydn, (March 31, 1732 - May 31, 1809) was one of the greatest and most important composers of the Classical era. He was called the "Father of the Symphony", because he helped build the modern form of symphonies, and wrote 104 of them of his own. Deutsch: (Franz) Joseph Haydn, (31. März 1732 - 31. Mai 1809) war einer der größten und wichtigsten Komponisten der Klassik. Er wurde "Vater der Symphonien" genannt, da er die moderne Form der Symphonie schuf und insgesamt 104 selbst schrieb. ORCHESTRA SIMFONICĂ A FILARMONICII PAUL CONSTANTINESCU DIRECTOR: prof. CORNELIU NICOLAE IRIMIA DIRECTOR ARTISTIC: OCTAVIAN DAVID DIRECTOR ONORIFIC:ILARION IONESCU GALAŢI RADU POSTĂVARU dirijor OVIDIU BĂLAN dirijor ROMEO RÎMBU - dirijor Solişti concertişti: GABRIEL CROITORU vioară IOANA-MARIA LUPAŞCU - pian Concertmaestru: ADRIAN CEAPĂ Concertmaestru: COSMIN STOICA VIOARA I ADRIAN TOTTI -şef partidă; LODRIN MARIN ;ILIANA ISTRATE GABRIELA MIHAIŢĂ; RODICA ION ; ANA-MARIA TRUŢĂ GEORGIANA IONESCU; DAN GAGIU ;STOICA SPIRIDON BOGDAN IONIŢĂ; DANA-CORINA PINTEA; CĂLIN CEAPĂ VIOARA A II-A MIHAI MIŞOV- şef partidă STELIAN NEMŢANU-şef partidă IOLANDA VASILESCU; IULIAN TOMESCU; CARMEN NASSE ANA-CARMEN VIERU; MIHAELA BORDEA ;OANA MAREŞ VENERA GAGIU; GEORGIANA CARAIVAN; IULIA BÂNDILĂ VIOLA GABRIEL IACOB -şef partidă MIHAELA TOMA; COSMIN FAUR ;GEORGIANA MUNTEANU MIRELA IVAN; GEORGIANA NAE VIOLONCEL SABIN VERBOSCHI;- şef partidă MIHAELA DASCĂLU; ADRIANA LUPU ;ELENA CÂRLIG SERGIU MARIN ...
Anna Netrebko in Anna Bolena 2011 Vienna State Opera
Anna Netrebko in Anna Bolena 2011 Vienna State Opera Gaetano Donizetti/1797 - 1848 Anna Netrebko /Anna Bolena Elina Garanca /Giovanna Seymour Ildebrando D'Arcangelo /Enrico VIII. Francesco Meli /Lord Riccardo Percy Elisabeth Kulman /Smeton Peter Jelosits /Sir Hervey Dan Paul Dumitrescu /Lord Rochefort Orchester der Wiener Staatsoper Chor der Wiener Staatsoper ATTO SECONDO Scena quinta Escono i servi di Anna dalla prigione ov'è rinchiusa. CORO (TUTTI) Chi può vederla a ciglio asciutto in tanto affanno, in tanto lutto, e non sentirsi spezzare il cor? CORO (PARTE) Or muta e immobile qual freddo sasso; or lungo e rapido studiando il passo; or trista or pallida, com'ombra, in viso; or componendosi ad un sorriso: in tanti mutasi diversi aspetti, quanti in lei sorgono pensieri e affetti nel suo delirio, nel suo dolor. Scena sesta Anna dalla sua prigione. Si presenta in abito negletto, col capo scoperto si avanza lentamente, assorta in profondi pensieri. Silenzio universale. servi la circondano vivamente commossi. Ella l'osserva attentamente sembra rasserenarsi. ANNA Piangete voi? donde tal pianto?... È questo giorno di nozze. Il Re mi aspetta... è acceso infiorato l'altar. Datemi tosto il mio candido ammanto; il crin m'ornate del mio serto di rose... che Percy non lo sappia... il Re l'impose. CORO Oh! memoria funesta! ANNA Oh! Chi si duole? CORO Oh! memoria funesta! ANNA Oh! chi si duole? Chi parlò di Percy?... Ch'io non lo vegga. Ch'io m'asconda a' suoi sguardi. È vano. Ei viene... ei mi accusa... ei mi grida. Oh! mi perdona ...
Tchaikovsky- Polonaise , from ' Eugene Onegin '
Tchaikovsky- Polonaise , from ' Eugene Onegin ' Title : Pyotr Ilyich Tchaikovsky - Polonaise, from 'Eugene Onegin' From Wikipedia ,Eugene Onegin (Russian: Евгений Онегин, Yevgény Onégin is an opera ("lyrical scenes"), Opus 24, in 3 acts, 7 scenes, by Pyotr Tchaikovsky. The libretto was written by Konstantin Shilovsky and the (brother of the) composer, and is based on the novel in verse by Aleksandr Pushkin. The opera was first performed in Moscow in 1879. Eugene Onegin is a well-known example of lyric opera; the libretto very closely follows Pushkin's original, retaining much of his poetry, to which Tchaikovsky adds music of a dramatic nature. The story concerns a selfish hero who lives to regret his blasé rejection of a young woman's love and his careless incitement of a fatal duel with his best friend. There are several recordings of it, and it is regularly performed. The work's title refers to the eponymous protagonist. In May 1877, the opera singer Lavrovskaya recommended creating an opera based on the plot of Eugene Onegin to Tchaikovsky. At first this idea seemed wild to the composer, according to his memoirs, however he was soon growing excited about the idea and created the scenarios in one night before starting the composition of the music. Tchaikovsky used the original verses from Pushkin's novel and chose scenes that involved the emotional world and fortunes of his heroes, calling the opera "lyrical scenes." The opera is episodic; there is no continuous story, just selected highlights of Onegin's life. Since ...
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