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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.