Gioachino Rossini Elizabeth, Queen of England Videos
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Isabella Colbran Gioachino Antonio Rossini Joyce Didonato June Anderson Daniele Gatti Calma Renée Fleming Cecilia Bartoli Sumi Jo Giuliano Carella Farinelli Gambling Moro Teatro Comunale Bologna Fenice Teatro San Carlo English Chamber Orchestra 1792 1815 1816 1817 1819 1820 1822 1823 1824 1829 1868
I. Elisabetta, regina d'Inghilterra:Act I: Quant’è grato all’alma mia...Questo cor ben lo comprende +••.••(...):00 Joyce DiDonato -mezzosoprano Edoardo Müller -conductor Orchestra e Coro dell'Accademia Nazionale de Santa Cecilia II. Otello: Act III: Assisa a' piè d'un salice +••.••(...):50 June Anderson -soprano Daniele Gatti -conductor Orchestra e Coro del Teatro Comunale di Bologna III. Otello: Act III: Deh calma, o ciel, nel sonno +••.••(...):39 June Anderson -soprano Daniele Gatti -conductor Orchestra e Coro del Teatro Comunale di Bologna IV. Armida: Act II: D'amore al dolce impero +••.••(...):19 Joyce DiDonato -mezzosoprano Edoardo Müller -conductor Orchestra e Coro dell'Accademia Nazionale de Santa Cecilia V. Armida: Act III: È ver...gode quest'anima +••.••(...):55 Renée Fleming -soprano Daniele Gatti -conductor Orchestra e Coro del Teatro Comunale di Bologna VI. Ermione: Act II: Amata, l'amai...Un'empia mel rapé! +••.••(...):38 June Anderson -soprano Daniele Gatti -conductor Orchestra e Coro del Teatro Comunale di Bologna VII. La donna del lago: Act I: Oh mattutini albori! +••.••(...):04 Joyce DiDonato -mezzosoprano Edoardo Müller -conductor Orchestra e Coro dell'Accademia Nazionale de Santa Cecilia VIII. La donna del lago: Act II: Tanti affetti in tal momento...Fra il padre e fra l’amante +••.••(...):47 Cecilia Bartoli -mezzosoprano Ion Marin -conductor Orchestra e coro del Teatro La Fenice IX. Maometto II: Act I: Giusto ciel, in tal periglio +••.••(...):43 Joyce DiDonato -mezzosoprano Edoardo Müller -conductor Orchestra e Coro dell'Accademia Nazionale de Santa Cecilia X. Zelmira: Act II: Riedi al soglio...Deh circondatemi +••.••(...):21 Cecilia Bartoli -mezzosoprano Ion Marin -conductor Orchestra e coro del Teatro La Fenice XI. Semiramide: Act I: Bel raggio lusinghier..Dolce pensiero di quell'istante +••.••(...):04:45 Sumi Jo -soprano Giuliano Carella -conductor English Chamber Orchestra Gioachino Antonio Rossini +••.••(...)) -composer Colbran, born in Madrid, studied under Girolamo Crescenti in Paris. By the age of twenty she had achieved fame throughout Europe for her voice. She moved to Naples, a hub of European music during the eighteenth and nineteenth centuries. The Teatro di San Carlo, built during the Bourbon dynasty, had been home to famous singers like the castrato Farinelli and represented a destination venue for talented singers. Colbran became the prima donna of the Teatro di San Carlo company, where she counted among her admirers the King of Naples as well as an adoring public. In time she became the mistress of the theater's impresario, Domenico Barbaia. Barbaia also managed gaming parlours and Colbran, materially well off as the result of her professional success and family fortune, developed a fondness for gambling. To complement Colbran's talents Barbaia signed Gioachino Rossini to a seven-year contract as a composer of operas for the company. Upon his arrival in Naples in 1815 Rossini composed the title role of Elisabetta, regina d'Inghilterra ("Elizabeth, Queen of England") especially for her. His next Neapolitan opera was Otello, ossia il Moro di Venezia in which Colbran sang the role of Desdemona. This opera proved to be immensely popular and found Colbran at the height of her powers. Her popularity led to demand for performances. Though her voice soon began to show signs of strain, Colbran continued to have a fertile career, creating the roles of Armida (Armida), Elcia (Mosè in Egitto), Zoraide (Ricciardo e Zoraide), Ermione (Ermione), Elena (La donna del lago), Anna (Maometto II), and Zelmira (Zelmira), all written by Rossini for Naples. The artistic collaboration between Colbran and Rossini that began in 1815 was accompanied by a romantic involvement. Colbran moved with Rossini, seven years her junior, to Bologna in 1822, where they married. The death of her father hit Colbran hard. Rossini, moved, commissioned a sculpture for the family mausoleum depicting a woman weeping at the foot of her father's sepulchre. The couple visited Vienna and later Venice, where Rossini composed Semiramide. Colbran created the title role, and even though the opera itself proved to be tremendously successful and was specifically designed to disguise her waning talents, she nonetheless disappointed the public. A visit to London in 1824 for a performance in the role commanded a high fee but received a poor critical response. She retired from singing by age 42. Though Rossini wrote more operas before his own retirement from operatic composition in 1829 (including Il viaggio a Reims, Le comte Ory, and William Tell), no more were composed for Colbran. Source: (http•••)
Gaetano Donizetti Anna Bolena Amo Beverly Sills Stuart Burrows Romani Carcano Rochefort Rossini Bellini Coccia Mercadante Giuditta Pasta Maria Callas Joan Sutherland Anna Netrebko Sondra Radvanovsky Robert Lloyd Patricia Kern Kern Julius Rudel London Symphony Orchestra 1536 1797 1829 1830 1835 1837 1848 1972
ANNA BOLENA Tragedia lirica in 2 atti Composer: Gaetano Donizetti (1797–1848) Libretto: Felice Romani, after Ippolito Pindemonte’s ‘Enrico VIII ossia Anna Bolena’ & Alessandro Pepoli’s ‘Anna Bolena’ First performance: Teatro Carcano, Milan, 26 December 1830 SETTING: Windsor and London, 1536. PLOT: Anne Boleyn (‘beheaded’) is the second wife of Henry VIII. Henry has turned his attentions to Jane Seymour, and plots to rid himself of his wife. He summons Lord Richard Percy, Anna’s first lover, back from exile. The king surprises the pair and orders their arrest. On the king’s orders, the Council of Peers dissolves Henry and Anne’s marriage and condemns Anna, Percy, her brother Lord Rochefort and her page Smeaton to death. 'Anna Bolena' was Donizetti’s first international success; with it, Donizetti ranked alongside Rossini and Bellini as one of the three great Italian bel canto opera composers. Rossini’s ‘Elisabetta, regina d’Inghilterra’ (1829) had sparked Italian opera composers’ interest in English history; Coccia and Mercadante would also write operas about Tudor monarchs. ‘Anna Bolena’ is the first of Donizetti’s ‘Three Queens’ operas, which deal with the Tudor monarchs: Henry VIII here, and Elizabeth I in ‘Maria Stuarda’ (1835) and ‘Roberto Devereux’ (1837). Elizabeth also appeared in an earlier opera, ‘Elisabetta al castello di Kenilworth’ (1829). Although ‘Anna Bolena’ has several impressive passages, it is a more static opera than its successors, and ends, like many Italian bel canto operas, with a lengthy scene for the soprano. Giuditta Pasta created the title role, which has provided a vehicle for a star soprano: Maria Callas, Joan Sutherland, Beverly Sills and more recently Anna Netrebko and Sondra Radvanovsky. No. 5 – Scena e Duetto: ‘S’ei t’aborre, io t’amo ancora’ Lord Rochefort persuades Anna to talk to Lord Percy. Although Percy still loves her, Anne urges him to leave England and never return. Anna Bolena, regina d’Inghilterra / Queen of England (soprano): Beverly Sills Lord Rochefort, fratello di Anna / Anne’s brother (bass): Robert Lloyd Lord Riccardo Percy (tenor): Stuart Burrows Smeton, paggio e musico della regina / the Queen’s page and musican (contralto): Patricia Kern Conductor: Julius Rudel London Symphony Orchestra London, 1972
Gioachino Rossini Alexandra Deshorties Ilse Eerens Jean Christophe Spinosi Ensemble Matheus Theater Wien 1815 2017
aus dem Duet "Non bastan quelle lagrime" Alexandra Deshorties (Elisabetta), Ilse Eerens (Matilde) Elisabetta Regina D´inghilterra Dramma per musica in zwei Akten (1815) von Gioachino Rossini Musikalische Leitung: Jean-Christophe Spinosi, Ensemble Matheus Inszenierung: Amélie Niermeyer Premiere: 17. März 2017 Neuproduktion des Theater an der Wien
Gioachino Rossini Isabella Colbran Giovanni Battista Velluti Alessandro Moreschi 1780 1813 1815 1816 1858 1861 1922
Duodécima ópera de Gioachino Rossini. Ópera seria en dos actos. Audio completo en una sola pista. Esta es la ópera para la cual se escribió la obertura que más se conoce como la de "El Barbero de Sevilla"; En la obertura que compuso Rossini para Aureliano in Palmira, surge una figura repetida de cinco notas tomada del pregón de los vendedores de pescado italianos y sería utilizada nuevamente en “Elisabetta, regina d’Inghilterra” (1815), que compusiera el maestro para Nápoles, con la mezzosoprano madrileña Isabella Colbran. Pero se volvería música inmortal cuando Rossini optó por ella para abrir tres años más tarde “Il barbiere di Siviglia” (1816) Hermosa música para una obra del género “ópera seria”. Obra en la que la partitura de Arsace fue escrita para Giovanni Battista Velluti («Giambattista», 1780 – 1861) considerado el último de los grandes castrati, a pesar de que Alessandro Moreschi («l'angelo di Roma», 1858 – 1922) sea considerado el último castrato de la historia.
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