I.b.s More Condition_symptoms

Happy 2008! Reminiscent of the Reconquista

To all readers of the blog, and so are not, what the hell, I wish you very happy departure of 2007 and 2008 even better input. The best thing about this year is the worst of which is about to enter:



HAPPY NEW YEAR!

December

Simple Thank You Wording For Tags

Twenty

, fun fun fun. On a day like today is almost mandatory to put something on the blog even as a mere excuse to congratulate the parties to all readers of this corner. It could have gone to some figure of opera singing carols, but I think it is something so light that I decided to throw me something completely different, something that somehow has to do with me. And leaving aside temporarily the leitmotiv that Government will continue this blog, I have decided to offer an instrumental piece of a contemporary author. What makes this boy, operatic bel canto and Rossini him, offering something instrumental and over our times? If the entry avanzais find the answer.

As you know, the server resides in Antequera, whose reconquest from the Muslims back in 1410 at the hands of the Infante Don Fernando (future Ferdinand I "The de Antequera") stalled considerably in the society as Subsequent artistic expression, whether paintings, chronicles, romances and music (in case you are interested in deepening a little more about the subject, I refer to this entry ). Well, after the reconquest of the city, Muslims residing in it were forced to emigrate, founding the cities of Granada and Toledo two separate districts with the name "The Antequeruela" in memory of the city that once was his country, neighborhoods that still exist today date.

Well, the composer Teruel Antón García Abril composed during the past decade, a concerto for piano and string orchestra entitled Night of Antequeruela , a work devoted to Manuel de Falla on the 50th anniversary of its death. And before talking about the work itself, it would not hurt a brief biographical sketch of our hero art today. And is that García Abril, born on May 19, 1933, is behind operas, orchestral works, cantatas, concerts, (violin, piano, guitar, cello, flute, two pianos, two guitars) and chamber music. In March 1982 he was elected member of the Real Academia de Bellas Artes de San Fernando in Madrid, in May 1995 for the Academy of Fine and Fine Arts of San Luis de Zaragoza, appointed in January 2003 unanimously Academic Honor of the Academy in 1997 for the Academy of Fine Arts Our Lady of Sorrows in Granada, in 2000 the National Academy of Fine Arts in Argentina and in 2001 for the Real Academia de Bellas Artes de Santa Isabel de Hungría in Seville.

composition now occupied by the blog entry was premiered in 1996 at the Auditorio de Galicia, Guillermo Gonzalez on piano and the Santiago Philharmonic Orchestra led by Max Zumalave in 1996. According to the author, seeks to be a poetic description of enchantment to the ecstatic contemplation of the night and at the sound of silence magnetic fascination of the sky, the highest inspiration of perfection. The composer was inspired by verses of our songs, such as "At the dawn come, my friend" and poets Ángel González Rafael Alberti and to shape the musical poetry of the composition of night, in which has sought to evoke the poetic mystery of distant constellations of Andalusia. The work if divided into Introduction, The Way of the night, Night I, Constellation I, Night II, The fullness of silence, Constellation II, Soledad and Paths of light. In total, 30 minutes of sweet and thoughtful couple music.

The interpretation I offer is provided by Gustavo Díaz Jerez the piano and Gran Canaria Philharmonic Orchestra conducted by Gunther Herbig. Concert performance held in the Auditorium Alfredo Kraus de Las Palmas de Gran Canaria on November 24de 2006. The sound is very good. Here you have the link:

Night of Antequeruela

may not be typical Christmas audition, but allow me to these "Night of the Antequeruela" take the opportunity to wish everyone a very Merry Christmas and may 2007 be the best the worst thing you can think along the imminent 2008.

Until next time!

Farthest Ever Made In Cubefield

Tancredi in Real

During the month of December is being performed at the Teatro Real de Madrid a work at twenty catapulted to fame at a young Italian composer. This composer was Gioachino Rossini . The work in question: Tancredi.

someone had the bright idea to represent the two most popular versions of the work-Venice and Ferrara, with all its variations for ciñiéndose not only the end-happy vs tragic. And for more clarity the idea was topped with encircle both as another version of a competent cast Rossini-Barcellona, \u200b\u200bCiofi and Sledge vs Podles, Cantarero and Zapata. This makes these functions in the Real Tancredi have achieved a level of interest among fans of Belcanto in general and Rossini in particular.

Well then, who signed this post has had the opportunity to attend features of both versions, but as the star of the recording of today will be the Ferrara version I focus on it. Before continuing, I'll refer to this entry for everything related to arguments, autopréstamos, versions and other family, but not before showing my particular wish that some day we see on stage so curious the Milanese version with all changes it implies.

I offer recording function up to day 18 of this month, broadcast live by Radio Clásica.




The entire cast is as follows:

Tancredi: Ewa Podles
Amenaide: Mariola Cantarero
argyria: José Manuel Zapata
Orbazzano: Giovanni Battista Parodi
Isaura: Marina Rodriguez-Cusi
Roggiero: Marisa Martins


Madrid Symphony Orchestra Chorus of the Teatro Real de Madrid · Riccardo Frizza

We have an incredibly cohesive function in their vocals. Ewa Podles is the only true contralto there, which alone can give us Tancredi really a "contralto", forgive the word I just invented. This results in an unusual extent, resounding bass and amazing stylistic ability. Tancredi is a perfect reference and stage presence, shown live and live by a server. To let the hands clapping. Mariola Cantarero Amenaide is a delight. Perfect vocal and interpretive level, filling beautifully in the duets with Podles. Give as a dramatic lesson, without knowing the meaning of "cool". It misses a little more "fireworks" in his second aria from Act II, but makes up for his performance throughout the entire score. José Manuel Zapata wears a stunning argyria, giving - at last! - A dramatic ambivalence Argyria the aria "Chi sei mia figlia Pensa, so prone by other tenors to be simply sung but not interpreted. It is a pity that the Ferrara version omits the big scene "Ah, according invan io tento" Act II: Zapata might have had another chance to shine. And it is that this is a Rossini tenor at one hundred percent (and over, of beautiful timbre). Rossini must be very happy to have you among his legion tenorística. Giovanni Battista Parodi for its part is quite rude and crude as Orbazzano not convinced. Marina Rodriguez-Cusi sang Isaura good in this role (better than what I heard in the role of day 9). well as Roggiero Marisa Martins. And very well Riccardo Frizza in front of the formations of the Real.

addition to the opera I'm going to leave the interviews also José Luis Pérez de Arteaga performed Riccardo Frizza, Mariola Cantarero, and José Manuel Zapata. It is not putting me picky, but it is noteworthy that a speaker learns Classic Radio live and live to sing in a fortnight Zapata Almaviva in New York, Mariola Cantarero NO Amenaide debut at the Royal Opera or Manuel García "Il califfo di Bagdad" will come out soon on CD. Do not assume that because their work should be aware of? I leave the question in the air.

For what said, that here are the links. The recording has good sound and is edited and fragmented into tracks, as usual:


CD1 CD2

Interviews

Very enjoyable function, by God.

How Myammee Kept Her Hair Looking Good

Rossini Trio

During these eleven months of blog I have always offered complete works but I've never focused on any particular artist. Well, to fill the void of gigs in La Gazzetta, today I will offer a special concert by three in the world of opera: Marilyn Horne and Joan Sutherland led by him Siamese latter husband, Richard Bonynge . Mission (almost) impossible to see Sutherland and Bonynge separately: where is an (almost) always goes the other.

Well, let's take a quick look at these two voices of the opera world. Marilyn Horne was born in Bradford, Pennsylvania in 1934. He studied with William Vennard and Lotte Lehmann before making his operatic debut as Hata in The Bartered Bride, Los Angeles. His historic Adalgisa, with Joan Sutherland Standard, took the Metropolitan in New York, which also has represented other major characters. In 1957 launched the stage career in the German city of Gelsenkirchen. This was contracted for three seasons, during which she sang, among other works, La Fanciulla del West and Wozzeck, an opera that marked his debut in the San Francisco Opera (1960) and Covent Garden (1964). Predisposition exceptional technical and Rossini stylist repertoire is, along with Sutherland, the most authoritative repository of the secrets of bel canto, demonstrated not only in the vocal flexibility and accuracy and ductility of the frills and ornaments, but also in possession of a mordant and typical outburst the song "di bravura", supported by an exceptional sense of style and great musicality (courtesy of epdlp.com )

Joan Sutherland was born in Sydney in 1926. He studied with John and Aida Dickens in Sydney until 1950. In 1950 Mobil Quest wins and continues his training in London with Clive Carey. His career changed dramatically when he met the pianist Richard Bonynge, whom he married on October 16, 1954. He was convinced that Joan had an adequate voice for bel canto soprano and helped to develop this capability. Her operatic debut took place at Covent Garden in 1952 as First Lady in The Magic Flute. This presentation was followed by an interpretation of Clotilde in Bellini's Norma with Maria Callas in the title role. In later years she sang supporting roles in The Valkyrie and Elektra, and in 1955 he participated at the world premiere of Tippett's Midsummer Marriage and the English premiere of The Dialogue of the Carmelites by Poulenc. Covent Garden soon realized its potential as a bel canto soprano and entrusted Emilia de Liverpool roles in Donizetti and Handel's Alcina. On February 17, 1959 Joan Sutherland shot to fame after making its first version of Lucia di Lammermoor. As his career was rising, Joan debuted in works that would become the most famous of his repertoire: Elvira in The Puritans (May 24, 1960) and Norma (October 17, 1963). In the last shared stage with the equally legendary mezzo-soprano Marilyn Horne. Was quickly considered the main dramatic coloratura soprano of the era and successfully debuted in Italy, France, USA and Austria to address the repertoire Rossini-Bellini-Donizetti. After his Italian debut in La Fenice in 1960 was known as the Stupendo. In later years appeared in The Daughter of the Regiment (June 2, 1966), Rosalinda in Die Fledermaus (September 8, 1973) and Anna Glavari in The Merry Widow (April 22, 1976). Also achieved fame for his roles in works by Handel and the continued recovery of forgotten operas, which also leads to the album with her husband, director Richard Bonynge. Works versions are reborn in Beatrice di Tenda, Rodelinda, Esclarmonde, Le Roi de Lahore and I Masnadieri. Another milestone in his career was the interpretation of the four soprano roles in a version of The Tales of Hoffmann held at the Sydney Opera House. In 1979 she was named Dame and in 1990 withdrew the opera after nearly four-decade career. His last appearance in a full opera was for a version of The Huguenots assembled in the Sydney Opera House in October of that year. His farewell was at the scene of the Feast of the second act of Die Fledermaus at the 1990-91 New Year's gala at Covent Garden. On May 6, 1998 was Day said Dame Joan Sutherland in the city of New York by Mayor Rudolph Giuliani (courtesy of radiobeethovenfm.cl ).

I offer The concert was held on June 12, 1985 in Sydney, with the Elizabethan Sydney Orchestra under the direction of the aforementioned Bonynge, competent as ever. Going to listen to Marilyn Horne vocally splendid, as usual in it. Joan Sutherland accused and a strong vocal wear, but who had retained. The concert program is as follows:

01. Handel - Semele "Iris, Henco away"
02. Handel - Alcina "Tornami to vaneghiar"
03. Rossini - La donna del lago "Mura felice"
04. Rossini - The cambial di matrimonio "Vorrei spiegarvi"
05. Rossini - Semiramide "Serbami ognor if fido il cor"
06. Delibes - Lakmé "Viens, Malika, creepers in bloom"
07. Offenbach - Les contes d'Hoffmann "Birds in charmielle"
08. Saint-Saens - Samson et Dalila "My heart opens to your voice"
09. Auber - Fra Diavolo "No temet Milord"
10. Meyerbeer - Les Huguenots "Non, jamais n'aurez vois you gage"
11. Bellini - Norma "Look, or Norma"
12. Offenbach - Les Contes d'Hoffmann "Belle nuit"

In short, a most enjoyable concert. Here I leave the link to the recording, fragmented and good sound: single CD



Have fun!

Cubefield Walkthroughs

biblical fact

Among the numerous literary sources that the writers threw hand to the development of future opera librettos that would later compose the music in question was the book of books: the Bible. Hundreds of stories of biblical character, being more or less faithful to the original, could be the basis of a good script. The star of the day work is based on the very famous flight from Egypt of Moses. Title: Mosè in Egitto. Composer: Gioachino Rossini .

"Mosè in Egitto" is one of the works that can be framed within the group might be called the Neapolitan operas. His libretto by Andrea Leone Tottola, marking the first collaboration with the composer of Pesaro (then come "Ermione", "La donna del lago" and Zelmira "). Tottola adopted as the literary source drama" L'Osiride "of Ringhieri (which in turn would be based on the original biblical) . Rossini premiered the work in the Naples Teatro San Carlo on March 5, 1818. The result of the release: a pathetic failure brought about by the staging, topped by the assembly absurd final scene (the passage of the Red Sea). Musically, the piece has moments of great dramatic intensity combined with others of relative calm as a prelude to scenes of considerable magnitude plot. Serve the peaceful prayer eg "Dal tuo Stellato Soglio" which precedes the intense, monumental, exciting scene from the Red Sea.

Let's move the plot of the play, where you can not miss the couple and their respective love stories. Act I. Royal palace of Egypt. There we found Faraone, Amalthea, Osiride and the Egyptian people. They all bemoan the fact Mose, Faraone's refusal to let go of his people, has plunged Egypt into the deepest darkness (Chorus: Ah, chi n'aita). This situation is dilated for too long, so the king required the presence of Mose, Aronne coming together. Faraone granted freedom to the Hebrew and its people to change the light to return home. Mosè accepts treatment, so a prayer to God (Invocation: Eternal Huge!). Miraculously, the light returns as Mosè finishes his sentence, to the surprise and disbelief of the Egyptians, who comments stunned the miracle. Mosè has fulfilled its part of the deal: now it's up to meet his Faraone (Quintet: Celeste placate man).

and are leaving all Osiride left alone. Elci appears at this time, a young Hebrew. Both kept a secret love, but has the heart Elci split in two: on the one hand you do not want to go because he loves Osiride but then wants to Mosè and its people and if you do not go with them can not be considered Jewish. The poor girl must be strong and say goodbye despite her boyfriend's insistence on leaving it (Duet: Ah, così puoi if lasciarmi).

Osiride is willing to prevent the departure of Mose and his people, and therefore the Elcio and blurts out his father, with bad intent, to let go of Mosè is a sign of weakness. Faraone is not willing to have his honor be besmirched, Mosè and decides to go after Jews and bring them back to Egypt, to the chagrin of Amalthea, who do they want progress (Aria: Cade il dal Cigliè veil).

In the next scene we see Mosè and people making a break before leaving Egypt. Some sing, others dance ... happiness reigns (Chorus: All'etra, heaven). But Osiride Faraone and arrive on the scene with his troops, ruining the party. The king orders Mosè come back and he gets angry and calls back to God, slamming into Egypt with a rain of fireballs, culminating Act I (Final: Alla idea di excessively so).

Act II. Faraone, before the rain of fireballs, had no choice but to release back to Mosè and yours. Osiride comes dejected and depressed. Faraone noted the sadness of his son and asks the reason for their concerns, but the prince tells his father of his love anything with Elci causing further worry Faraone (Duet: Parlar, non posso spiegar) . In another unit

Amalthea encounter alone. Mosè, before leaving, he made a brief visit to thank you for all your support. The queen is pleased by the progress of Mosè and longs for his people and finally disappear Unfortunate Egypt (Aria: The pace mia smarrita).

Now we move to another room, which comes Elci Osiride driven. This is going to make an embarrassing proposition should stay there until Mosè hidden and people leave. Once they match, they both can go together. Elci is shown in principle halting but it ends up accepting (Duet: Quale assalto, qual cimento). However, his plans are truncated and Amalthea (who was looking for her son) and Aronne (Who was looking for Elci) find the young embrace. The couple's love is revealed and both are very surprised. Of course this union can not be possible at all, so they are separated immediately (Quartet: My manca the voce).

Due to this misfortune, Mosè and people are again arrested and Faraone rejoices at the Hebrew saying he does not think letting them go under any circumstances. Mosè replied to walk with caution, as the tide can change ... (Aria: Tu m'agravvi Ceppi hand).

Just then enter the Egyptian priests, who mock Mosè and the Hebrews (Chorus: tue cure is to mitigate). Mosè calls for good to Faraone let them go, but is adamant refusal Faraone. Therefore, the Hebrew leader returns to ask for help from God which, through a beam exterminator Osiride glares at the sight of all. Her parents are completely stunned, the rest of those present can not believe what they have seen and becomes fully Elci shock, thus ending Act II (Aria: Porgie the destra amata).

Act III: Faraone, stunned by what happened, go back left to the Hebrews. We are on the Red Sea. Before leaving, all sing a prayer (prayer: Dal tuo Stellato Soglio).

culminate in prayer and in the distance you hear a rumor. These are troops Egypt, led by Mambre and Faraone own that go in search of Mosè and yours. They are not willing to lead the Hebrews and their victorious march after all the hardship they have caused in Egypt, so they go after him. The village is alarmed, but Mosè asked to trust in God, he raises his staff, and to the amazement of the Hebrews the Red Sea opened. Everyone starts to cross.

Faraone, Mamre and his troops arrive in time to witness the miracle. Given this vision, the king is totally surprised. Mambre asks whether to leave deterred, to which Faraone said no, starting the chase. As the Jews are coming to the other shore waters are closed, engulfing the Egyptians, the leak has been a complete success. After giving thanks to God who set their forty year journey through the desert (Final: Son fuggitti, oh ciel, che look!).

And after the explanations, let's go with the recording, led by Rossini names one hundred percent. This is a 1994 direct from London. Then, the sharing tab:

Mosè: Ruggero Raimondi
Faraone: Simone Alaimo
Elci: Anna Caterina Antonacci
Osiride: Bruce Ford
Amalthea: Jennifer Rhys-Davies
Aronne: Justin Lavender
Amenofi: Patricia Bardon
Mambre: Philip Dohgan

Orchestra and Chorus of the Royal Opera House, Covent Garden
Paolo Olmi

Mosè and Faraone, intimate enemies here embodied by Ruggero Raimondi and Simone Alaimo that stimulate one another to give their best. Mosè the serious dry Raimondi, as should be. Omitted, alas, the small but significant Act II aria "Tu di Ceppi m'agravvi hand." The truth is that is missing. In return, ambivalent, indecisive Faraone that of Alaimo. Also it should be. Vocally it shows a decline in Raimondi. Alaimo is splendid. Rossini spent the role of love and Andrea Isabel Colbran Nozzari. Anna Caterina Antonacci and Bruce Ford well be considered the alter ego of his colleagues in the century (especially the first). Colbran Sopranos true in our time there is only one, and that is Antonacci. With that is that everything (and if you are not all apuntalaré that what I mean is that your Elci is a joy). For his part, Bruce Ford was in a golden age and wear nothing accusing accused today. Jennifer Rhys-Davies replacing an indisposed Ann Murray. His Amalthea, Faraone consciousness, it is very enjoyable. Well Justin Lavender, Patricia Bardon and Philip Dohgan in their respective roles (highlight the work of the first.) Paolo Olmi enough juice out of the hosts choral and orchestral London's Covent Garden (escúchense whole numbers).

And finally, here I leave the links. The work, as always, is edited and fragmented and the sound is really good:


CD1 CD2

Until next time!

Cake Contest Columbus, Oh

The hard life of a pharmacist

Well, after a weekend in Madrid Tancredi seeing twice, it's supposed to be telling that such functions have been recording and providing relevant, as happened back in March with functions Cavalleria Rusticana and Pagliacci Real . But what happens? Well, until next week I will have no record (gratia aeternam to RNE Radio Clásica). So when the day arrives, we will let Rossini rest a few days and we will focus attention on one of his colleagues, Gaetano Donizetti , specifically in a work composed in very specific circumstances: Il Campanello .

Let us place ourselves in Naples, back in 1836. Donizetti was bored to death by a plague that is ravaging the city. And to kill boredom both at Bergamo can not think of a better idea to create a new opera. And when I create I mean both the development of the script as the composition of music. So is born "Il Campanella, an opera buffa in one act that would be premiered at the Teatro Nuovo in Naples on June 1, 1836. For the libretto, Donizetti adopted as the literary source the play "Sonnett de la nuit" by Léon Lévy Brunswick, Mathieu Barthélemy Lhérie Troina and Victor.

Argumentalmente estamos ante una obrita divertidísima. Al levantarse el telón vemos como un coro celebra el transcurso de una boda. Los novios no son otros que el farmacéutico Annibale Pistacchio (un hombre ya entrado en años) y Serafina (bastante más joven que el contrayente). Aunque la diferencia de edad es más que notoria, hay amor en la pareja y ha sido autorizada por la madre de la muchacha, Madama Rosa. Annibale Pistacchio canta feliz y le chorrean babas pensando en la cantidad de Pistachitos que pulularán por Nápoles dentro de poco. La fiesta continúa y se presenta Enrico, antigua pareja de Serafina y ahora tremendamente celoso por su enlace con el farmacéutico. Aprovechando que la muchacha remains one tries to woo her momentarily but handles Serafina stop him. Seeing that all return, Enrico concealed by a toast. Afterwards remove all: Annibale need rest and that at five o'clock will leave for Rome on business issues. Enrico, since it has not been recovered at Serafina, decides to take revenge against Annibale particular. And vengeance chosen can not be more appropriate: the night will make it impossible for the poor pharmacist. Total, who is leaving to return shortly after the singer lost his voice disguised. Enter the pharmacy pidendo relief and a sleepy Annibale out to assist. And is that the "singer" debuts next day a major paper because of an unexpected loss of voice can not do, so he asks a pill to cure Annibale. Annibale it miraculously clears and the "singer" is starting to make any kind of coo. When she manages to make Annibale despair, he leaves, but not before a thousand times thank the tremendous favor he has done. Once the "singer" is gone, Annibale back to bed. But soon returned to continue giving Enrico around. And this time it comes disguised as an old man. Hannibal is forced to rise again and the "elder" asks you to prepare a recipe with ingredients ending the most exotic. And is that women of this "elder" has disease to fill a catalog. If the desperation of Annibale with the singer was great, now is superlative. After getting the "old" leaves, Annibale back to bed to rest a bit ... but ... oh woe!, Annibale give five and be prepared to leave. Enrico has achieved since its purpose: to achieve overnight to give Annibale. Finally, the pharmacist takes the measure after getting Serafina the oath to be faithful. However Enrico will now have the opportunity to return to court, ending the operetta.

Well, let's move on to the recording. This is a 1976 direct from Bregenz, with a cast of bells as shown in the tab que viene a continuación:

Serafina: Mariella Devia
Don Annibale: Giuseppe Taddei
Enrico: Leo Nucci
Madama Rosa: Biancamaria Casoni
Spiridione: Carlo Gaifa

Bregenz Festival Orchestra & Chorus
Bruno Amaducci

Como salta a la vista, estamos ante un terceto protagonista insuperable. Mariella Devia borda su número más importante, el dúo con Enrico, y se convierte en una referencia how to sing the role. And the book are the interpretations of Giuseppe Taddei and Leo Nucci, the latter particularly amusing in the two duets as the hapless pharmacist. Casoni Biancamaria Carlo GAIF and properly complete the deal giving birth to her two roles secundarísimos (I have not said before but Spiridion is Annibale's servant). Bruno Amaducci automatically in front of the hosts orchestral Bregenz.

Here I leave the link on the recording, good sound tracks and fragmented as usual: single CD



If you do not know the work, to cheer, I assure you that no you are going to regret it.

Free Horse Buggy Blue Print

The return of La Gazzetta

This is my first post on the blog after nearly two months. An income of forty days of a loved one has been to blame, but fortunately that is now water under the bridge: in late November gave us high and everything is going extremely well. But just in case, I will not publish a Requiem on the blog, that the thing has turned out to be alligator lizard:-p. To celebrate the holiday forced hospitals have gone, I'll dedicate this post to the eternal star of the blog, Gioachino Rossini. And specifically one of the funniest operas of the composer's La pietra paragone .

If you remember, a while ago blog brought to the special version, a reference I would say, of the work: recording from the Festival of Pesaro, with an extraordinary cast. However, the version that I bring you this time is interesting in its musical approach, and adopting a historicist lens hand of one of its champions such as Jean-Christophe Spinosi , that commanding the Ensemble Matheus and collaboration of Coro del Teatro Regio di Parma achieves a very accomplished reading, living, sparkling and unusual date of the Rossini score. Just listen to parts like the overture, the quartet the first act or scene of Clarice's second to realize it.

Come to the information sharing of these functions, from the Paris Theatre du Chatelet and dated 18 January this year:

Marchesa Clarice: Sonia Prina
Asdrubale Conte : François Lis
Cavalier Giocondo: José Manuel Zapata
Pacuvio: Christian Senn
Macrobius: Joan Martin-Royo
Baronessa Aspasia: Jennifer Holloway Donna Fulvia
: Laura Giordano
Fabrizio: Filippo Polinelli


Matheus Ensemble Coro del Teatro Regio di Parma · Jean-Christophe Spinosi

strong cast that brings each of the the core roles required. Dominate the landscape the English representation chaired by José Manuel Zapata -Tancredis next argyria in the Royal Theatre, and Joan Martin-Royo . Extraordinary first in the role of Giocondo, outgoing and funny when the role requires and intimate love when he plays. Play his aria of Act II is a delight for the ears, an example of how to be interpreted with gentleness, delicacy, internalized and felt at all times. No doubt to give a standing ovation in the hall of our house. The second paints a versatile Macrobius, never overacting, always well sung. We should be satisfied voices have with us as apt to interpret the music of Swan of Pesaro. Sonia Prina Clarice gives us a very enjoyable, well maybe a little Baroque, a view hitherto unknown de la Marquesa, which does not mean it is not entirely valid one embodiment. A little rough but the Asdrubale of François Lis (the other functions Asdrubale the production was great Michele Pertusi, these functions being replaced in Paris by Lis), may have gotten more "chicha" a role that is usually serious, but it is comical episodes (hear this the trio of Act III). fun of Christian Senn Pacuvio the side really well in the beautiful voice of Laura Giordano , Jennifer Holloway and Filippo Pollinelli . Regarding director, orchestra and choir, I refer my earlier comments.

Here I leave the links. The recording is published as usual fragmented into tracks. The sound is extraordinary


CD1 CD2 CD3


In short this is a different Rossini but from my point of view, extraordinary. has recently gone on sale a book-DVD of these same functions. A nice gift to take now that Christmas comes around, right?

Nothing, that delighted to be back blogging. I hope not having to leave it parked for so long by issues like me now have to. For many years.

Intitlei-catcher Console - Web Monitor

A Requiem for Rossini Getting

At 2315 a distant and Friday, November 13, 1868, Rossini died at his villa in Passy. The news was soon known and the expressions of condolence were happening one after another. Among professional colleagues, the death of regret generally caused great sorrow.

A Giuseppe Verdi he had an idea to honor the teacher, to coordinate the collective composition of a requiem by the leading musicians of the moment and once completed, put on stage in order to pay homage to Rossini. And indeed the project was conducted: Verdi was slowly contacting with different composers and the work was taking shape over the remainder of 1868 and 1869.

In the summer of 1869, the collective work was finished. It then proceeded to edit the score, leaving the body of the Requiem numbers as follows:

1. Requiem, composed by Antonio Buzzolla . For choir.
2. Kyrie, composed by Antonio Buzzolla . For choir.
3. Dies Irae, consisting of Joseph Antonio Bazzini . For choir.
4. Mirum Tuba, composed Carlo Pedrotti. For baritone soloist and choir.
5. Quid sum miser, composed by Antonio Cagnoni . For soprano and mezzo.
6. Recordare Jesu, composed by Federico Ricci . For soprano, mezzo-soprano, tenor and bass.
7. Ingemisco composed by Alessandro Nini . For tenor and chorus.
8. Confutatis composed Raimondo Boucheron. For choir.
9. Oro supplex, Raimondo Boucheron composed . Bass and chorus.
10. Lacrimosa, composed by Carlo Coccia . For choir.
11. Amen, composed by Carlo Coccia . For choir.
12. Domine Jesu, composed by Gaetano Gaspari . For choir.
13. Quam olim Abrahao, composed by Gaetano Gaspari . For soprano and chorus.
14. Hostias composed Gaetano Gaspari. For soprano, mezzo-soprano, tenor and bass.
15. Quam olim Abrahao, composed by Gaetano Gaspari . For soprano and chorus.
16. Sanctus - Hosanna, composed by Pietro Platania . For soprano and chorus.
17. Benedictus - Hosanna, composed Pietro Platania . For soprano and chorus.
18. Agnus Dei, composed Lauro Rossi. For mezzo-soprano.
19. Lux Aeterna, composed Teodulo Mabellini . For tenor, baritone and bass.
20. Libera me - Dies Irae, composed by Giuseppe Verdi . For soprano and chorus.
21. Requiem aeternam - Libera me, Giuseppe Verdi composed . For soprano and chorus.

thought for release on 13 November of that year, 1869, coinciding with the first anniversary since the death of the teacher. The collective score was already edited and ready to be played, but for various reasons over the opening edges and different parts the Requiem was delivered to their respective composers to give them each use they wanted (Verdi use his hand to his Requiem). As a tribute to the deceased, rather than the collective mass interpreted the Stabat Mater of Rossini himself.

may think that a work composed of thirteen different feathers cohesion may suffer. Nothing could be further from reality. And to prove I invite you to hear the next recording, from Montpellier and dated July 31, 1998, as it should have sounded the November 13, 1869:

Here tab Cast: Soprano

: Luana De Vol
Mezzosoprano: Phylis Ponchella
Tenor: Rockwell Blake
Baritone: Stefano Antonucci
Low: Felipe Bou

Orchestre Philharmonique de Montpellier Languedoc -Rousillon
Radio Choeurs Letton · Enrique Dimecque

Homogeneous and cohesive quintet enjoys an intense and nuanced direction by Enrique Dimecque . To highlight the work of Rockwell Blake during the extensive "Ingemisco", the vocal power of Luana De Vol in the "Libera Me" and the elegance of Stefano Antonucci in the "Tuba Mirum."

The recording, from a radio recording and very good sound, is fragmented into tracks as usual. The first CD is included from the "Requiem" Buzzolla to the "Amen" of Coccia. The second CD picks up from the "Domine Jesu" from Gaspari to the "Requiem aeternam" from Verdi.

And finally, I leave the links here:


CD1 CD2

.
you enjoy this heartfelt tribute to a great as it was Rossini.

Funbrain Planet Pinball

Well then, after tell that is my book , I would like to pose the different ways to acquire, so that, if you are interested, I welcome her to the more comfortable you please.

In principle the book is sold from the publishers website worldwide. It does not matter is requested from Spain, from Argentina that from Japan, and that the publisher used without problems. The payment is in two ways: either by credit card or paypal. I can tell you firsthand that the service is totally reliable (I've tried).

To reach other places still take time, as this week began the process of distribution platforms such as Amazon and Barnes & Noble. However, I as author and copyright owner, I have access to all the copies you want.

What do you mean by this? Well, very simple: if you are interested in the book itself but for some reason you want to make the purchase through the publisher, not convince you to pay by credit card, you do not know what it's going paypal or whatever, you can tell me number of copies in which you are interested, I'll take care of requesting and once you have them I get the mail.

ahorraríais By this way you give bank account information, you can choose between cash on delivery or deposit account. Come here everyone chooses how payment. What do you like COD? Then it sends you on delivery. Do you prefer an income account? Then follows an account number and you doing the English version.

And there is a way more, I'll be in Madrid for Tancredi first weekend of December. If you can not convince the online purchase option via publisher or direct application to a server, because we will always Madrid. If this option optarais need to know who you would be interested to order copies in advance.

short and specifying:

* Option to purchase online
must go to this address or click on and follow the steps that are indicated.

* Option to purchase via
Indicadme author by email through netdominguez@hotmail.com the number of copies in which you are interested, personal details and payment and I will undertake to request copies and make them come to your home via mail.

* Option Madrid (7, 8 and 9 December)
Indicadme by commenting to this post or by email to netdominguez@hotmail.com the number of copies in which you are interested and I will give you the led to the capital of the kingdom.

For all I have left now is to thank all the many expressions of affection and interest that I have received and am receiving. For any questions you may arise, email here or I am.

Until next time!

Aspberger's Syndrome More Condition_symptoms

With the book you ... My book!

few weeks ago I talked about my book and I had that would go on sale soon, but do not say when. Well then, I can say at this point to my satisfaction, that the book is now available for all who are interested in life and opera production of the Swan of Pesaro. But before you can tell where you get, price and others, I tell you exactly what is with what you are going to find if you want to do with it.

The exact number is 241 pages and is organized into six chapters and three annexes, preceded by an index, a preliminary note, and a prologue. I'm going to be explaining what each one of the parties.

· Index, notes and prologue preliminary. Is being welcomed to the book. Preliminary note written by a server and do it a declaration of intentions and motives that led me to write the book. The foreword is written by the great Rossini tenor that has been José Manuel Zapata. Quite an honor for me to accept preface for the book came to be the icing on the cake.

· Chapter I: Who was Rossini? . A monograph on the composer, in my view, should be led by a biography of the protagonist. The biographical chapter, to promote order and organize your life, subdivided into six sections, which are to be:

- The years of study (1792-1809)
- Travel to glory without scales (1810 - 1814)
- A busy period (1815-1823)
- London and Paris (1824-1829)
- Hard Five decades (1830-1854)
- The last step: peace and quiet (1854-1868)


· Chapter II: The Rossini opera over time . Considered that it might be interesting to a section that would serve as exposure to the fate of Rossini operas from the moment he came from the pen of the composer to this day. As in the previous chapter, it also subdivided, this time into four sections:

- Introduction
- The popularization of the music Rossini
- Years in limbo
- The Rossini Renaissance


· Chapter III: Gioachino Rossini operas . Here I get fully into the story writing each and every one of the operas and Rossini pastiche, 41 in total. Before diving into stories, do a short introduction and an explanatory classification of Rossini's operatic corpus into three categories: comic operas, serious and semiseria. And in the stories, before beginning each argument, the data indicated concerning lyricist (and if need be, work on which was based), date of composition and premiere of the opera, Nugar release, characters and more voice to which they belong and names of the performers who participated in the premiere of the opera after the story of the 41 arguments, I conclude with a section dedicated to the unfinished opera and projects, ie those operas that could be and were not finally.


· Chapter IV: The vocalism Rossini. As title suggests, this chapter is to delve into aspects of the vocalism Rossini, both male and female. For ease of exposition, subidivido chapter in the following sections:

- Introduction
- male vocalist. This comment vocal characteristics of tenors, baritones and bass
Rossini - Classification of men's roles in the operas of Rossini. Here classify all male Rossini roles, both primary and secondary, full operatic production of the composer. If in Chapter III showed the vocal cord to which they belonged, and refining here and indicate exactly what type we are talking about (if contraltino, baritenor, etc).
- Female Vocalist: Here comment the vocal characteristics of sopranos, mezzo-sopranos and altos
Rossini - Classification of women's roles in the operas of Rossini. Here Rossini classify all female roles, both primary and secondary, in full operatic production of the composer. As with male vocalist, and refining here and indicate exactly what type we are talking about (if funny, serious, musician, etc).


· Chapter V: The Rossini autopréstamos . In this chapter I collect autopréstamos that we are in all Rossini operatic production. After an introduction, I am indicating opera opera that we find those reuses. I give you an example of the process that I follow in the exhibition:


Dorliska Torvald and receive music
:

1. L'Stravagante wrong. The melody of the last section of the trio between Ernestine and Gamberotto Buralicchio at the end of Act I of L'Stravagante wrong ("you Amabilia Volgi) bears some similarity to the end of Act II of Torvald and Dorliksa ("To this happy").

2. L'occasione fa il bark. The end of the duet between Don Parmenion and Ernestina ("Quel gentle, vague quel Oggetto") saves a considerable similarity to the end of the duet between Dorliska and Carlotta of Act I of Torvald and Dorliska (via Oh, signora mia ").

3. Tancredi. The cabaletta of argyria aria beginning with Act II of Tancredi ("Forgive questo pianto") resembles at times the cabaletta Torvald's aria in Act II of Torvald and Dorliska ("Ah, potessi il mio braccio "). The chords that initiate the chorus of warriors Act II of Tancredi (il Muore prode ") are similar to those that lead duo Dorliska and Torvald in Act II of Torvald and Dorliska (Quest'ultimo addio").

4. Sigismondo. Sigismondo's aria from Act II ("Alma area, il più wretched") keeps the similarity with the cabaletta Dorliska aria in Act II of Torvald and Dorliska ("Ah, die per sposo expensive).


· Chapter VI: Rossini's music and added alternative. Rossini composed new pieces that add time or other alternatives would in his operas. In this chapter I am dedicated to exposing these new compositions, also indicating the references record that we find recorded that part. The chapter ends with a section devoted to the existing alternate endings Tancredi, Otello, Maometto and Guillaume Tell. I give you an example to see how you do the exhibition:


La Gazza Ladra

Act I

Deh, Lasciate ... Beviam, tocchiamo to gara. This is an aria that serves as an alternative to toast Pippo "Tocchiamo, beviamo" and his music was taken from the aria Sivenas placed at the beginning of Demetrius and Polybius. Rossini wrote this piece for the first performances of the play in 1818 (an years after its premiere in Milan) at the Teatro Nuovo in Pesaro (now Teatro Rossini) on the occasion of the inauguration of the Colosseum. In a toast, Pippo shows his joy at the return of Giannetto (son of local landowners) about military
contests and invites everyone to celebrate with a glass of wine. Discography



Marilyn Horne. Arie alternative. Orchestra Sinfonica della RAI di Torino /
Alberto Zedda. Fonit Cetra. 1983.


· Annex 1: Thematic Index . Throughout the chapter III as indicated, prior to the narrative story of each of the operas of Rossini, data concerning librettist / s of the opera, first interpreters of their roles and theater that hosted the premiere of each work. However I thought it might be useful to the reader a thematic index to pool these data and to obtain an overview of the professional relationship between the composer and librettist, and theater performers responsible for presenting their titles. For example, if we see all Rossini operas that premiered at La Scala, with subject index to go to theaters and watch the entries for the Scala can see it. If we want to see how many roles premiered Filippo Galli, just leave the subject index of performers Galli and look to see what they were. If we want to see how many scripts Rossini wrote Tottola, we go to table of contents of librettists, we looked at the list and settled.

· Annex 2: Basic Discography . This indicated a record label of each of the Rossini operas that come to constitute a basic discography of the composer. Critical comments and I do not intend to convert the annex into a sort of critical label, but tell the reader recordings of the operas in order to facilitate your search.

· Annex 3: References of interest. This literature indicated and interesting web addresses related to the book's protagonist.

And with that we got to page 241 and the end of the book.

Now I will tell you as to how to find, price and more. In principle you can find it in the editorial itself, which is served by direct sales. You can find the book HERE. Also you have a shortcut button to the right of the blog, under the cover of the book. Why do I say this "in principle"? Really easy. The book has just gone on sale and until it hits the stores still have to go through the process for distribution. In the page you may also find the ISBN number.

on the price. I do not go looking for benefits, among other things because I have not had to make an investment. So my priority is not to return get the book, but to get the reader. I tried the price as low as best they can. At the end is stuck in € 14.30

Nothing, and I began an adventure that ends in July 2005 and terminating two years or so later. In closing, I leave with the paragraph which finished the preliminary note of the book, which is to reflect what I have tried with this particular journey in which a good summer morning I decided to embark:

Gaudenzio, a character in "Il Signor Bruschino "makes its entrance in the opera theater, claiming that the big world all seek his fortune. My quest has been to try to get the supporters a little closer to the music of Swan of Pesaro. If the "big world" of which you are a part, experiences that approach, this work would not have been in vain and I have managed to find my "fortune" particular.

Greetings to everyone!

Funbrian Planet Pin Ball

Una furtiva lagrima ...

Before you begin, a little warning: the links at the Rossini Otello with Von Bothmer and Zapata are back published, so if you are interested in recording you can find it in the previous post.

Well, after this brief note, let's mess. There are works that know stoically resist the passage of time. And not only resist with dignity, but also do it with pride. The truth is that not many titles can say that both referential recordings can be found fifty years ago today. Our work today is a player than can show it off. I am referring to L'Elisir d'amore , one of the most famous opera buffa entire operatic repertoire out of the pen of the great composer was Bergamo Gaetano Donizetti.

And is that "L'Elisir" was the only on his behalf from the moment of its release. That May 12, 1832, the Teatro della Cannobiana Milan saw a premiere tremendous. Donizetti was able to enjoy a great time at the huge cheers directed at him after the final act. As icing on the cake, the critical task to spread in the press the tremendous success of this new title. And from there, the immortality of an opera fated not to leave the stage. Something had to see the magnificent libretto Felice Romani signed based on an earlier one entitled "Le Philtre", by Eugene Scribe.

Although this is a very famous title, it will be worth remembering su argumento, que os ofrezco con la cortesía de Intermezzo , web del ya mencionado en el blog Rafael Torregrosa.

Primer acto. La rica y bella Adina se mofa de los tímidos intentos de Nemorino, que está enamorado de ella, y prefiere leer en voz alta la historia de Tristán e Isolda. Los aldeanos que la escuchan desearían poseer un elixir de amor como el de Tristán. Belcore, un sargento que está al frente de un destacamento, entra en escena y requiebra a Adina, con la desesperación de Nemorino.

Una trompeta entre bastidores anuncia la llegada de un carro dorado; sobre él viene el Doctor Dulcamara, un charlatán que proclama elocuentemente sus mercancía: "Udit, or rustici." The locals are impressed. When Nemorino asks for the "elixir that won the Queen Isolde", Dulcamara claims that he has and gives him a bottle that contains nothing but claret, while confessing that he never saw anyone so simple.

Nemorino drinks the wine from the bottle and sings happy thinking that soon conquer the love of Adina with that magic potion that is supposed to make its effect last twenty four hours. Absorbed in this case does Adina, who enters the scene, which, of course, misses the girl, who begins to take an interest in Nemorino.

Belcore is ordered to leave with his detachment, and asks that Adina marry him that same day, a request that she appears to give access Nemorino jealous. It is filled with despair, thinking that the elixir will not effect until the next day and it will be too late. Then begs Adina to delay the wedding a day, but she refuses and, while the whole town thinks happily in the celebration, Nemorino feel that their hopes have vanished. And ends the first act.

begins the second act. Adina's farm everything is ready for the wedding. After a lively choir, presents the last song Dulcamara arrive in Venice, an barcarola that is a beautiful young woman without fortune who rejects the claims of a old senator. Dulcamara and Adina is sung, amid the applause of those present: "Io are ricco, e tu sei bella". Guests depart

to witness the signing of the marriage contract, leaving Dulcamara, who is finishing a meal. Sign Nemorino and Dulcamara gives you another bottle of elixir "that will make its effect immediately. Meanwhile, Adina has postponed the signing of the contract. Nemorino, to get the money to pay the new bottle, he enlisted in the regiment of Belcore, who has come again, and both sing a duet, "Venti scudi."

Again in the town square. Giannetta tells the villagers that Nemorino's uncle has died, leaving him heir to a fortune, Nemorino but still does not know anything about it. Now girls are VIP to Nemorino, and he attributes to the effects of the "elixir." Adina, meanwhile, is thrilled to learn that Nemorino has enlisted because of him, while he, delighted with their new situation, leaving with the girls. Dulcamara Adina confesses that Nemorino has sold an elixir of love, but she says, and agrees Dulcamara, elixir she has a more powerful: its beauty.

Sale Nemorino scene again, he has noticed a marked change in attitude toward him Adina, and his love comes rushing: "Una furtiva lacrima. Adina Back, which has rescued Nemorino's commitment to the military, gives states the document and is also in love with him.

Belcore, who returns with soldiers, meets with the new situation, but soon comforted thinking that the world is full of young women. Dulcamara, meanwhile, does a big business with the elixir, which has brought not only love but also money. The locals are happy to show their enthusiastic appreciation Dulcamara, who leaves in his golden chariot, which concludes the opera.

And after the explanation of rigor, let the record that this time I offer. It is the function held at the Teatro de Jerez Villamarta April 29, 2004 by a cast that youth and experience combine to give a very enjoyable representation:

Let the sharing tab:

Adina: Mariola Cantarero
Nemorino: Ismael Jordi
Belcore: Marco Moncloa
Dulcamara: Carlos Chausson
Giannetta: Leticia Rodriguez

Malaga Philharmonic Orchestra Coro del Teatro
Villamarta Jerez · Francesc Bonnin

The great winner of the representation Mariola Cantarero was , Adina extraordinary that makes respectable comes down after concluding aria. Very good example of how to sing a role like the one at hand. Ismael Jordi Nemorino does the same: I was lucky to see him live in Manchester a few functions and I can assure that your vocal performance goes hand in hand with his dramatic performance. His "Una furtiva lagrima" is really delicious. Not everything was to be encouraged to Dulcamara Carlos Chausson, but a vocal condition did not surrender to 100%. Undervalued in Spain, undoubtedly deserves further commitments Chausson larger theaters. Well Marco Moncloa as Belcore and well Leticia Rodriguez in homely role of Giannetta. Right orchestra and chorus by Francesc Bonnin .

And finally, here I leave the links. This is a recording made in the theater itself, although its sound is good. Va edited and fragmented into tracks, as has become customary:

CD1 CD2


to enjoy it.