Carlo Bergonzi Performs Nemorino in L'elisir d'amore
- Classical music composed by Gaetano Donizetti Carlo Bergonzi with a heart-grabbing rendition of "Una Furtiva Lagrima" L'Elisir d'amore by Donizetti. Full video available at www.vaimusic.com.
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Carlos Ruben Gomez plays Moto perpetuo of Nicolo Paganini in guitar
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CARLOS KLEIBER REHEARSAL & PERFORMANCE - PROBE UND AUFFÜHRUN
VÖ in Deutschland: 13. Juni 2008 DVD Video des Labels Arthaus Musik Im Vertrieb der NAXOS Deutschland GmbH CARLOS KLEIBER REHEARSAL AND PERFORMANCE PROBE UND AUFFÜHRUNG Overtures • Ouvertüren CARL MARIA VON WEBER: Der Freischütz JOHANN STRAUSS: Die Fledermaus Sound Format: PCM Mono, Dolby Digital Mono Picture Format: 4:3 DVD Format: DVD 9, PAL Menu Language: GB Subtitle Languages: GB, F, SP, IT Audio Language: D Running Time: 102 min FSK: 0 Region Code: 0 PAL only, worldwide available excluding Japan Carlos Kleiber -- Schillernder Pultstar und unergründliches Genie Carlos Kleiber, Genie oder Wahnsinn am Dirigentenpult? Oft wurde dieser hochintelligente, belesene, sensible und charmante, entwaffnend humorvolle, zuweilen zynische und zornige Mann als exzentrisch missverstanden, seine spektakulären Absagen, seine kuriose und kurze Schallplattengeschichte und seine gänzliche Verweigerung gegenüber der Öffentlichkeit oft nicht als Ausdruck seines tiefen künstlerischen Gewissens, sondern als Willkür eines begnadeten Paradiesvogels gedeutet ... Als Carlos Kleiber im Frühjahr 1970 für den SDR in der Stuttgarter Villa Berg mit dem Südfunk-Sinfonieorchester die Ouvertüren zu Die Fledermaus und Der Freischütz in Probe und Konzert aufnahm, war er längst einer der gefragtesten Dirigenten seiner Zeit. Die vorliegende DVD gibt einen sehr exklusiven und raren Einblick in Kleibers Bemühen, den Musikern seine Ideen auch mit originellen verbalen Vergleichen zu vermitteln. Denn Kleiber <b>...</b>
VÖ in Deutschland: 13. Juni 2008 DVD Video des Labels Arthaus Musik Im Vertrieb der NAXOS Deutschland GmbH CARLOS KLEIBER REHEARSAL AND PERFORMANCE PROBE UND AUFFÜHRUNG Overtures • Ouvertüren CARL MARIA VON WEBER: Der Freischütz JOHANN STRAUSS: Die Fledermaus Sound Format: PCM Mono, Dolby Digital Mono Picture Format: 4:3 DVD Format: DVD 9, PAL Menu Language: GB Subtitle Languages: GB, F, SP, IT Audio Language: D Running Time: 102 min FSK: 0 Region Code: 0 PAL only, worldwide available excluding Japan Carlos Kleiber -- Schillernder Pultstar und unergründliches Genie Carlos Kleiber, Genie oder Wahnsinn am Dirigentenpult? Oft wurde dieser hochintelligente, belesene, sensible und charmante, entwaffnend humorvolle, zuweilen zynische und zornige Mann als exzentrisch missverstanden, seine spektakulären Absagen, seine kuriose und kurze Schallplattengeschichte und seine gänzliche Verweigerung gegenüber der Öffentlichkeit oft nicht als Ausdruck seines tiefen künstlerischen Gewissens, sondern als Willkür eines begnadeten Paradiesvogels gedeutet ... Als Carlos Kleiber im Frühjahr 1970 für den SDR in der Stuttgarter Villa Berg mit dem Südfunk-Sinfonieorchester die Ouvertüren zu Die Fledermaus und Der Freischütz in Probe und Konzert aufnahm, war er längst einer der gefragtesten Dirigenten seiner Zeit. Die vorliegende DVD gibt einen sehr exklusiven und raren Einblick in Kleibers Bemühen, den Musikern seine Ideen auch mit originellen verbalen Vergleichen zu vermitteln. Denn Kleiber <b>...</b>
Carlo Bergonzi - Che gelida manina (Live)
Carlo Bergonzi (b. 1924) is an Italian operatic tenor. Although he performed and recorded various bel canto and verismo roles, he is above all associated with the operas of Giuseppe Verdi, including a large number of his lesser-known works which he helped revive. Essentially a lirico-spinto tenor, Bergonzi is greatly admired for his pointed diction, beautiful legato and elegant phrasing. Bergonzi here sings the famous aria 'Che gelida manina' from La Boheme, in a live performance. This is one of my favorite renditions, absolutely spectacular performance by Maestro Bergonzi. Bergonzi was still singing and giving masterclasses as of 2005. When I visited China that year, a friend of mine and I attended Bergonzi's masterclasses in Beijing...Bergonzi's voice is still in good shape and sounds fantastic!
Carlo Bergonzi (b. 1924) is an Italian operatic tenor. Although he performed and recorded various bel canto and verismo roles, he is above all associated with the operas of Giuseppe Verdi, including a large number of his lesser-known works which he helped revive. Essentially a lirico-spinto tenor, Bergonzi is greatly admired for his pointed diction, beautiful legato and elegant phrasing. Bergonzi here sings the famous aria 'Che gelida manina' from La Boheme, in a live performance. This is one of my favorite renditions, absolutely spectacular performance by Maestro Bergonzi. Bergonzi was still singing and giving masterclasses as of 2005. When I visited China that year, a friend of mine and I attended Bergonzi's masterclasses in Beijing...Bergonzi's voice is still in good shape and sounds fantastic!
Sharon Isbin Performs at the White House: 1 of 8
Classical guitarist Sharon Isbin performs Isaac Albenizs Asturias and Agustin Barrios Mangorés Waltz Op. 8, No. 4 at the White House Evening of Classical Music on November 4, 2009. (public domain)
Classical guitarist Sharon Isbin performs Isaac Albenizs Asturias and Agustin Barrios Mangorés Waltz Op. 8, No. 4 at the White House Evening of Classical Music on November 4, 2009. (public domain)
Joyce Geeting, on Cello, Performs the Kodaly Solo Sonata on her 220-
Joyce, World Class Cellist and author of Janos Starker: King of Cellists, performin the Kodaoly Solo Sonata, written by Zoltan Kodaily and considered one of the most difficult cello pieces to play. It made Janos Starker, Joyce Geeting's teacher and mentor, famous as a teenage protege in Hungary in the 1930s. Geeting performs the piece on her 220-year old cello. She performs all over the world and teaches at the Cal Lutheran Conservatory in Thousand Oaks, California. For more about Joyce Geeting go to www.joycegeeting.com<br /><br />Here is a description of the Kodaily Sonata from Kevin O'Donnell:<br />What makes the Sonata a great work? Firstly, and indispensably, inspired thematic invention. Consider the opening melody: a b-dorian, Hungarian-flavoured span of melody that makes you sense what it must have been like to hear Cicero in person launch the Phillipics against Mark Antony. You cannot strictly say that the first movement develops this theme, for it is never not there: the first movement is the theme. Yet there is no sense of redundant repetition either, such is the compositional technique.<br /><br />The slow movement extends cello technique into realms not previously imagined. Consider the extraordinary double stop trills on page 8 of the score, or the haunting deployment of left-hand pizzicati.<br /><br />The finale’s czardas will save you ever having to listen to another. The sound of the instrument is orchestral with its grinding open-string drones. At the extraordinary page 16, this orchestral timbre assumes a kind of Sibelian intensity and transcendence. Even in live performance you cannot believe one player and one instrument are doing it all. The rush to the end is breath-taking<br /><br />It has been truly said that this work by itself makes Kodaly one of Hungary’s greatest composers.
Joyce, World Class Cellist and author of Janos Starker: King of Cellists, performin the Kodaoly Solo Sonata, written by Zoltan Kodaily and considered one of the most difficult cello pieces to play. It made Janos Starker, Joyce Geeting's teacher and mentor, famous as a teenage protege in Hungary in the 1930s. Geeting performs the piece on her 220-year old cello. She performs all over the world and teaches at the Cal Lutheran Conservatory in Thousand Oaks, California. For more about Joyce Geeting go to www.joycegeeting.com<br /><br />Here is a description of the Kodaily Sonata from Kevin O'Donnell:<br />What makes the Sonata a great work? Firstly, and indispensably, inspired thematic invention. Consider the opening melody: a b-dorian, Hungarian-flavoured span of melody that makes you sense what it must have been like to hear Cicero in person launch the Phillipics against Mark Antony. You cannot strictly say that the first movement develops this theme, for it is never not there: the first movement is the theme. Yet there is no sense of redundant repetition either, such is the compositional technique.<br /><br />The slow movement extends cello technique into realms not previously imagined. Consider the extraordinary double stop trills on page 8 of the score, or the haunting deployment of left-hand pizzicati.<br /><br />The finale’s czardas will save you ever having to listen to another. The sound of the instrument is orchestral with its grinding open-string drones. At the extraordinary page 16, this orchestral timbre assumes a kind of Sibelian intensity and transcendence. Even in live performance you cannot believe one player and one instrument are doing it all. The rush to the end is breath-taking<br /><br />It has been truly said that this work by itself makes Kodaly one of Hungary’s greatest composers.
Live Classical Music CT- Sharon Ruchman Performs live music
www.sharonruchman.com - On July 23rd I performed with my cellist, Mary Costanza at Pomperaug Woods in Southbury, CT. Our program consisted of all seven piano and cello duets I composed, in addition to composing trios and string quartets. Since I have studied cello on and off over the years, in addition to having a great uncle who was a violin prodigy, I am particularly drawn to composing for string instruments. There is something so deeply rich and expressive about the sound of the strings that can really touch the soul and bring out one's emotions. <br /><br />Whether you are having a networking event, a charity event or require music for a media project, contact me at sharon@sharonruchman.com and visit www.sharonruchman.com to listen and purchase my CD's.
www.sharonruchman.com - On July 23rd I performed with my cellist, Mary Costanza at Pomperaug Woods in Southbury, CT. Our program consisted of all seven piano and cello duets I composed, in addition to composing trios and string quartets. Since I have studied cello on and off over the years, in addition to having a great uncle who was a violin prodigy, I am particularly drawn to composing for string instruments. There is something so deeply rich and expressive about the sound of the strings that can really touch the soul and bring out one's emotions. <br /><br />Whether you are having a networking event, a charity event or require music for a media project, contact me at sharon@sharonruchman.com and visit www.sharonruchman.com to listen and purchase my CD's.
Schumann. Sonata №1 fis-moll op. 11 performs Sergey Osipenko (part
запись с концерта 27.03.2010 в малом зале Ростовской Государственной Консерватории. Исполняет заслуженный деятель искусств России, профессор Сергей Иванович Осипенко.
запись с концерта 27.03.2010 в малом зале Ростовской Государственной Консерватории. Исполняет заслуженный деятель искусств России, профессор Сергей Иванович Осипенко.
Jascha Heifetz plays Tchaikovsky Violin Concerto 1st mov
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Rachmaninoff - Vocalise For Violin
Title : Sergei Rachmaninov, Vocalise (Songs (14), Op. 34: no 14)
From Wikipedia,Vocalise, Op. 34 No. 14 is a song by Sergei Rachmaninoff, published in 1912 as the last of his Fourteen Songs, Opus 34. Written for voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using any one vowel (of the singer's choosing). It was dedicated to soprano Antonina Nezhdanova.
Although the original publication stipulates that the song may be sung by either soprano or tenor voice, it is usually chosen to be performed by a soprano. As with many classical vocal pieces, it is transcribed in a variety of keys, allowing the performer to choose a vocal range more suitable to their natural voice, so that artists who may not have the higher range of a soprano can nevertheless perform the song. When sung by a tenor, it is sung an octave lower than the same key when sung by a soprano.
Title : Sergei Rachmaninov, Vocalise (Songs (14), Op. 34: no 14)From Wikipedia,Vocalise, Op. 34 No. 14 is a song by Sergei Rachmaninoff, published in 1912 as the last of his Fourteen Songs, Opus 34. Written for voice (soprano or tenor) with piano accompaniment, it contains no words, but is sung using any one vowel (of the singer's choosing). It was dedicated to soprano Antonina Nezhdanova.
Although the original publication stipulates that the song may be sung by either soprano or tenor voice, it is usually chosen to be performed by a soprano. As with many classical vocal pieces, it is transcribed in a variety of keys, allowing the performer to choose a vocal range more suitable to their natural voice, so that artists who may not have the higher range of a soprano can nevertheless perform the song. When sung by a tenor, it is sung an octave lower than the same key when sung by a soprano.
Americas Got Talent - Jackie Evancho 10 Opera Singer
The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show.
Bio
Jackie Evancho - 10yrs old - Singer
Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy!
By Jerry Shriver, USA TODAY
When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real?
The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio.
Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff.
LIFELINE LIVE:More on Jackie, plus see video
During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings."
The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals.
Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS.
"She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall.
A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring."
Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room."
The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide.
Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it."
He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty.
"Whatever she picks, she will do well."
http://www.JackieEvancho.co
http://www.JacquelineEvancho.co
http://www.JacquelineMarieEvancho.com
The YouTube.com community picked their favorite Jackie Evancho. She is a young opera singer from Pittsburgh, Pennsylvania and can be compared to Susan Boyle. Now she may look like an average kid, but this child has a set of pipes. The video entry gave an amazing performance that one person commented sounded like an Angel. Looking to be a very young contestant, there is no doubt she might steal the show.Bio
Jackie Evancho - 10yrs old - Singer
Jackie has a style that is all her own. At ten years old, she possesses an ability that many older artists lack. Her talent and presence captivate all that hear her. Jackie performs with such style and grace that we forget that we are watching/listening to a child. She has been called by a many, a singing prodigy!
By Jerry Shriver, USA TODAY
When a 10-year-old singer belted out a Puccini aria with the polished voice of someone thrice her age on Tuesday night's episode of America's Got Talent, the "next Susan Boyle!" superlatives flowed across the mediascape. But so did the question: Is Jackie Evancho for real?
The precocious soprano, a Pittsburgh-area fourth-grader who auditioned for the NBC show with a YouTube video, wowed the panel with a live performance of O Mio Babbino Caro. But a video clip appears to show that her lips are ever-so-slightly out of sync with the audio.
Fremantle, the company that produces AGT and Fox's American Idol, makes contestants available only to local media. But "there was no lip-syncing," says producer Jason Raff.
LIFELINE LIVE:More on Jackie, plus see video
During rehearsals, "the whole crew was saying it looked like she's lip-syncing," he says. "And on the close-ups, her mouth is moving a different way than the sound coming out. It is weird, but it's just how she sings."
The voters embraced her happily: On Wednesday's results show, Evancho advanced to the semifinals.
Further testimony to her true talent comes from her track record: Her self-released EP, Prelude to a Dream, has sold around the world, and she has performed with David Foster, sung the national anthem at the Pittsburgh Pirates home opener and appeared on PBS.
"She is just truly blessed with a voice that's phenomenal," says classical-crossover composer/conductor Tim Janis, who is including Evancho in his American Christmas Carol show (Dec. 2) at Carnegie Hall.
A film producer had alerted Janis to Evancho two years ago, and he put her in one of his Celebrate America specials for the Pittsburgh public television station WQED. "Jackie just stood out and shined," he says. Her voice "totally captivated me and sent me to a place that was uplifting and inspiring."
Even if listeners don't know that it's a child singing, "the voice stands on its own. It's a big sound that fills the room."
The reaction recalls the Cinderella story of Boyle, who became an Internet sensation after her Britain's Got Talent appearance and went on to record an album that has sold 9 million copies worldwide.
Evancho trains with at least two vocal coaches, which is essential at her age "to make sure you don't abuse the gift," Janis says. "A young vocalist is in the process of developing those muscles, and you don't overdo it."
He won't speculate whether Evancho, who sings both pop and classical, will choose one specialty. "She has a rare gift to speak to many hearts. In my mind, the classical setting is a really nice match for her voice. But someone who doesn't follow that genre can still appreciate the beauty.
"Whatever she picks, she will do well."
http://www.JackieEvancho.co
http://www.JacquelineEvancho.co
http://www.JacquelineMarieEvancho.com
Jung Lin Performing Liszts Hungarian Rhapsody no 2
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_Civilization
Concert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." This excerpt is taken from a program entitled "The Piano in World Civilization," featuring commentary by piano expert David Dubal.
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"The Piano in World Civilization" with David Dubal and Jung Lin in discussion and performance at the 2007 Aspen Ideas Festival.
In this, its third year, Aspen Ideas Festival once again gathers scientists, artists, politicians, historians, educators, activists, and other great thinkers around some of the most important and fascinating ideas of our time. As these thinkers present their provocative ideas, they engage a sophisticated and highly motivated audience.
Jung Lin is a classical pianist who has been acclaimed for her poetic and virtuosic performances. A native of Taiwan, she conducted her own orchestral works at age 12 and has won numerous competitions. At 16, her symphonic poem, The Black Wedding, was given its premiere by the Juilliard Symphony under Miguel Harth-Bedoya. Lin graduated with honors from the Juilliard School, and she has performed at such prestigious venues as the International Keyboard Institute and Festival, the Summit Festival in China, and at Alice Tully Hall at the Lincoln Center for Performing Arts. Late this year, Naxos will release Jung Lin's two all-Medtner CDs, including the first complete recording of the Russian composer's 38 Fairy Tales.
Complete video at: http://fora.tv/2007/07/08/Piano_in_World_CivilizationConcert piano virtuoso Jung Lin performs Franz Liszt's "Hungarian Rhapsody no. 2." This excerpt is taken from a program entitled "The Piano in World Civilization," featuring commentary by piano expert David Dubal.
-----
"The Piano in World Civilization" with David Dubal and Jung Lin in discussion and performance at the 2007 Aspen Ideas Festival.
In this, its third year, Aspen Ideas Festival once again gathers scientists, artists, politicians, historians, educators, activists, and other great thinkers around some of the most important and fascinating ideas of our time. As these thinkers present their provocative ideas, they engage a sophisticated and highly motivated audience.
Jung Lin is a classical pianist who has been acclaimed for her poetic and virtuosic performances. A native of Taiwan, she conducted her own orchestral works at age 12 and has won numerous competitions. At 16, her symphonic poem, The Black Wedding, was given its premiere by the Juilliard Symphony under Miguel Harth-Bedoya. Lin graduated with honors from the Juilliard School, and she has performed at such prestigious venues as the International Keyboard Institute and Festival, the Summit Festival in China, and at Alice Tully Hall at the Lincoln Center for Performing Arts. Late this year, Naxos will release Jung Lin's two all-Medtner CDs, including the first complete recording of the Russian composer's 38 Fairy Tales.
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 <b>...</b>
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 <b>...</b>
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.
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.
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 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 - "Signor sergente" (Peter
The finale proper begins with Gianetta's entrance with a letter from Belcore's commander (talk about dramatical messenger; plus, the music is brilliantly "runny" in the strings). Belcore and his men are to leave the very next morning. But that doesn't really stop Adina who (and that's the second part of the all-important-event) announces that she will marry Belcore immediately which causes Nemorino great distress (plus, the wine has gotten out of his system a bit). The next section is the iconic "suspension-over-time": Nemorino's gentle, sighing, elegant line is contrasted with Belcore's and Adina's laughing, mocking short phrases (the soprano only joins the tenor's line for her two last couplets as she laments the loss of all possible hope of marrying Nemorino). Finally, time returns as all except Nemorino (and, secretly, Adina) rejoice at the news of the upcoming news; Nemorino is pushed aside with only his cries of "doctor! doctor!" audible. And that's the Act One Finale :)! Peter Dvorsky, Lucia Popp, Bernd Weikl are joined by the Gianetta of Judith Hobarth. Hope you enjoyed it :)! The next piece, Adina's big aria is coming soon.
The finale proper begins with Gianetta's entrance with a letter from Belcore's commander (talk about dramatical messenger; plus, the music is brilliantly "runny" in the strings). Belcore and his men are to leave the very next morning. But that doesn't really stop Adina who (and that's the second part of the all-important-event) announces that she will marry Belcore immediately which causes Nemorino great distress (plus, the wine has gotten out of his system a bit). The next section is the iconic "suspension-over-time": Nemorino's gentle, sighing, elegant line is contrasted with Belcore's and Adina's laughing, mocking short phrases (the soprano only joins the tenor's line for her two last couplets as she laments the loss of all possible hope of marrying Nemorino). Finally, time returns as all except Nemorino (and, secretly, Adina) rejoice at the news of the upcoming news; Nemorino is pushed aside with only his cries of "doctor! doctor!" audible. And that's the Act One Finale :)! Peter Dvorsky, Lucia Popp, Bernd Weikl are joined by the Gianetta of Judith Hobarth. Hope you enjoyed it :)! The next piece, Adina's big aria is coming soon.
d'Amore Ensembles: Hornpipe from Handel's Watermusic
d'Amore Ensembles provide live classical music for Weddings, Corporate and other Functions
d'Amore Ensembles provide live classical music for Weddings, Corporate and other Functions
Viola D'amore
Video clip of Thomas Georgi from Tafelmusik Ensamble playing Classical music on Viola D'amore
Video clip of Thomas Georgi from Tafelmusik Ensamble playing Classical music on Viola D'amore
