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luís soares

Blog do escritor Luís Soares

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Countertenor Franco Fagioli sings Scherza infida in grembo al drudo, an aria from the opera 'Ariodante' (HWV 33) composed by G. F.Handel. Premiered 8 Jan.1735 at Covent Garden. The role of Ariodante, a vassal prince, was originally sung by the mezzosoprano castrato Giovanni Carestini.

 

Scherza infida in grembo al drudo
Io tradito a morte in braccio
Per tua colpa ora men vo.
Ma a spezzar l'indegno laccio,
Ombra mesta, e spirto ignudo,
Per tua pena io tornero.

Non Invecchia Mai

Teatro La Fenice - stagione 2016/ 2017

Wolfgang Amadeus Mozart - Madamina, il catalogo è questo (Don Giovanni)

 

Leporello - Omar Montanari
Donna Elvira - Carmela Remigio

Orchestra del Teatro La Fenice
Maestro concertatore e Direttore - Stefano Montanari

Regia - Damiano Michieletto
Scene - Paolo Fantin
Costumi - Carla Teti
Light designer - Fabio Barettin

 

Questo il link per vederlo integrale: https://goo.gl/xBzNE7

Grazie a Culture Box e a Oxymore productions

Io t'abbraccio

Io t'abbraccio from Rodelinda, regina de' Longobardi, opera seria by George Frideric Handel, that premiered at the King's Theatre in the Haymarket in London on 13 February 1725, at the height of his career.  
This duet is sung between Rodelinda, Queen of Lombardy and Bertarido, the usurped King; the role of a king was originally sung by alto castrato while today it is sang by countertenors.

Lucy Crowe (Rodelinda) / Bejun Mehta (Bertarido)

 

Philippe Jaroussky (Bertarido) / Nuria Rial (Rodelinda)

 

Renée Fleming (Rodelinda) / Andreas Scholl (Bertarido)

Anna Caterina Antonacci sings the Habanera

The Habanera is the aria Carmen sings when she first appears on stage. It is also known as 'L'amour est un oiseau rebelle'.

Carmen was based on a popular novella of the same name by Prosper Mérimée, which enticed French readers with exotic tales of Spain. Its heady combination of passion, sensuality and violence initially proved too much for the stage and Georges Bizet's opera was a critical failure on its premiere in 1875. Bizet died shortly after, never learning of the spectacular success Carmen would achieve -- it has been staged over 500 times at Covent Garden alone.

Carmen contains many well-loved numbers, such as Carmen's seductive Habanera and Escamillo's rousing Toreador's song, in which he celebrates the thrill of the bullfight. Richly coloured designs capture the sultry heat of the Spanish sun, while ranks of soldiers, crowds of peasants, gypsies and bullfighters bring 19th-century Seville alive. This combination of memorable music, vivid setting and dramatic story have made Carmen one of the most popular operas in the world.

Dove sono i bei momenti

Aria ''Dove sono i bei momenti' from opera Le nozze di Figaro by Wolfgang Amadeus Mozart
Kiri Te Kanawa - soprano
Metropolitan Opera Orchestra,
Conductor : James Levine
The Metropolitan Opera Centennial Gala, 1983

 

E Susanna non vien!                     

And Susanna hasn't come!

Sono ansiosa di saper                   

I'm anxious to know

come il Conte accolse la proposta.      

How the Count took the proposition.

Alquanto ardito il progetto mi par,     

The plan seems to me a little rash,

E ad uno sposo si vivace e geloso!       

And against such a quick and jealous husband!

Ma che mal c'è?                         

But what harm is there in it?

Cangiando i miei vestiti con quelli     

To change my clothes with

                    di Susanna,                            

Susanna's,

E suoi co'miei                          

And hers with mine

al favor della notte.                   

Under cover of night.

Oh, cielo! a qual umil stato fatale     

Oh, Heaven! What a fatal comedown

io son ridotta da un consorte crudel!   

I'm reduced to by a cruel husband!

Che dopo avermi con un misto inaudito   

Who, after he had me, [gave me] an unheard-of mixture

d'infedeltà, di gelosia, di sdegno!     

Of infidelity, jealousy and rage!

Prima amata, indi offesa, e alfin tradita, 

First loved, then insulted, and at last betrayed,

Fammi or cercar da una mia serva aita!  

You force me to seek help from one of my maids!

 

 

Dove sono i bei momenti             

Where are the lovely moments

Di dolcezza e di piacer?            

Of sweetness and pleasure?

Dove andaro i giuramenti            

Where have the promises gone

Di quel labbro menzogner?           

That came from those lying lips?

Perchè mai, se in pianti e in pene  

Why, if all is changed for me

Per me tutto si cangiò,             

Into tears and pain,

La memoria di quel bene             

Has the memory of that goodness

Dal mio sen non trapassò?           

Not vanished from my breast?

Ah! se almen la mia costanza,       

Ah! if only, at least, my faithfulness,

Nel languire amando ognor,          

Which still loves amidst its suffering,

Mi portasse una speranza            

Could bring me the hope

Di cangiar l'ingrato cor!           

Of changing that ungrateful heart!

Gundula Janowitz is the Contessa Almaviva

'Porgi Amor' from a wonderful "Le Nozze di Figaro" conducted by Georg Solti at Paris Opera Garnier in 1980. The very famous stage production by Giorgio Strelher. Fabulous cast : Jose Van Dam (Figaro), Lucia Popp (Susanna), Gundula Janowitz (Contessa Almaviva), Gabriel Bacquier (Almaviva), Federica Von Stade (Cherubino), Jane Berbié (Marcellina).

Madama Butterfly

‘One fine day, we’ll meet again‘, sings Cio-Cio-San, longing for the return of her husband. US marine officer Pinkerton chose her, a young Japanese girl, to become his wife when he arrived in Nagasaki. For him, she renounced her family and her religion, and she gave birth to his son. But once Pinkerton’s ship returns to the port of Nagasaki, Cio-Cio-San’s hopes of a happy future together are shattered…

MADAMA BUTTERFLY is one of the most performed operas in the world. Puccini drew inspiration from traditional Japanese music for his adaptation of the short novella by John Luther Long and composed one of his most refined opera scores. His heroine Cio-Cio-San is a woman torn between two civilisations; caught between Eastern and Western culture, between tradition and modernisation.

Director Mario Gas sets his new interpretation of the opera on the stage of Madrid’s Teatro Real in a 1930’s film studio where they are working on a film adaptation of Puccini’s opera. Gas opens the opera’s plot up by adding a film crew, offering two interpretations simultaneously: the acting in front of the camera and the actual film. 

Soprano Ermonela Jaho is no stranger to the audience at the Teatro Real and of THE OPERA PLATFORM. In 2015, she dazzled as Violetta Valéry in LA TRAVIATA and in 2016 in the role of Desdemona in OTELLO. Now, she returns to Madrid as Cio-Cio-San. Alongside Jaho, Jorge de León takes the role of Benjamin Franklin Pinkerton. Marco Armiliato, a most experienced conductors of the Italian repertoire, will lead the orchestra of the Teatro Real through one of the most unforgettable scores ever written for the opera stage.