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luís soares

Blog do escritor Luís Soares

Ninfe! Elfi! Silfi!

GIUSEPPE VERDI (1813–1901)
«Ninfe! Elfi! Silfi! ... Sul fil d‘un soffio eteseo» - Nannetta's aria from the opera« Falstaff »

Regula Mühlemann
CHAARTS Chamber Artists
Arrangement Wolfgang Renz

CHAARTS Chamber Artists:
Felix Froschhammer - violin
Markus Fleck - violin
Tomoko Akasaka - viola
Andreas Fleck - cello
Lars Schaper - double bass
Barbara Stegemann - oboe
Rui Lopes - basson
Moritz Roelcke - clarinet
Maximilian Randlinger - flute
Tomas Gallart - horn L.
Lea Magdalena Knecht - harp

Stadttheater Olten, Switzerland January 30, 2020

Audio and video production: Oren Kirschenbaum

La Forza del Destino

The Radio Philharmonic Orchestra led by Antony Hermus perform the ouverture from the opera 'La forza del destino' by Giuseppe Verdi during The Sunday Morning Concert of Sunday the 1st of September 2019.

2019/2020 is a very special year for The Sunday Morning Concert: the new season marks the 25th anniversary of the AVROTROS concert series! To celebrate, the orchestra played a throwback programme during the first concert of the season on the 1st of September: the music played (Copland, Verdi, Prokofiev and Tchaikovsky) was the same music that got played during the first edition in 1994.

Pace, pace mio Dio

Anna Netrebko as Leonora sings 'Pace, pace mio Dio' aria in Christof Loy's production of Verdi's sweepingly ambitious opera on war, religion, love and fate.

La forza del destino is one of Verdi's most ambitious scores. Its overture - which introduces us to the sinister motif signifying Fate - is one of his most memorable. The opera also contains some of Verdi’s most brilliant choral writing, including Act III’s stirring ‘Rataplan’ chorus, and several beautiful and intimate arias such as Leonora's ardent Act IV 'Pace, pace mio Dio!'. There's comedy too with the scenes for the greedy monk Fra Melitone. Christof Loy's colourful and spectacular production reflects the kaleidoscopic nature of Verdi's opera, where intense personal dramas play out against a background of war, and in which religion plays an ambiguous role.

Verdi and his librettist and friend Francesco Maria Piave based La forza del destino on Ángel de Saavedra's highly dramatic play Don Alvaro, o la fuerzo del sino, and also incorporated material from Schiller's Wallenstein's Camp for Act III's military scenes. Following Forza's 1862 St Petersburg premiere, Verdi made extensive revisions to the score. The most substantial of these were a new overture, and a less melodramatic ending, in which Don Alvaro remained alive rather than committing suicide. The revised Forza, the version best known today, had its premiere on 27 February 1869 at La Scala, Milan.

Olha uma Aida.

The Opera recording event of the year. This magnificent recording of Aida, made in Rome, rises to all the musical and dramatic challenges presented by Verdi’s richly-coloured Egyptian epic. Antonio Pappano, once again proving his mastery of Italian opera, moves between sumptuous grandeur and touching intimacy. The responses of the Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia are both immediate and vibrant, while the singers – Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk, Ludovic Tézier and Erwin Schrott – do justice to every facet of their roles.