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2024-05-02
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Gaetano Donizetti Ferretti Giorgio Ronconi Giuseppe Verdi Domenico Ronconi Bellini Padilla Gioachino Rossini Felice Varesi Leone Giraldoni Francesco Graziani Graziani Antonio Cotogni Testi Scala 1755 1784 1797 1809 1810 1817 1824 1827 1831 1832 1833 1836 1837 1838 1840 1841 1842 1843 1848 1852 1890 1999
"Perché dell'aure in sen" - "Torquato Tasso" (1833) - G. Donizetti +••.••(...)) - Live 1999 - Berlin. Luca Casagrande Baritone Jessica Nardon Piano - Piano Erard XIX cen.. "Torquato Tasso" is a melodramma semiserio, or 'semi-serious' opera, in three acts by Gaetano Donizetti and based on the life of the great poet Torquato Tasso. The Italian libretto was written by Jacopo Ferretti, who used a number of sources for his text, including works by Giovanni Rosini, Goethe, Goldoni, and Lord Byron as well as Tasso's actual poetry. It premiered on 9 September 1833 at the Teatro Valle, Rome. The work has been criticized for "its odd deployment of vocal types" characteristic of the semiseria genre. The role of the poet Torquato Tasso was written by Jacopo Ferretti, and the music was composed by Gaetano Donizetti, for Giorgio Ronconi a high baritone, almost a tenor. Giorgio Ronconi (6 August 1810 - 8 January 1890) was an Italian operatic baritone celebrated for his brilliant acting and compelling stage presence. In 1842, he created the title-role in Giuseppe Verdi's Nabucco at La Scala, Milan. Ronconi was born in Milan and had been taught to sing by his father, Domenico Ronconi, who was a leading tenor. He made his operatic debut at Pavia in 1831, as Valdeburgo in Bellini's La straniera, and went on to sing at La Scala and elsewhere in Italy. In the 1830s and 1840s, he appeared in the first performances of seven operas by Donizetti. They were in: 1833, as Cardenio in "Il furioso all'isola di San Domingo"; 1833, in the title role in "Torquato Tasso"; 1836, as Enrico in "Il campanello"; 1837, as Nello Dello Pietra in "Pia de' Tolomei"; 1838, as Corrado Waldorf in "Maria de Rudenz"; 1841, as Don Pedro in "Maria Padilla"; and 1843, as Enrico, Duke of Chevreuse, in "Maria di Rohan". The genius of Ronconi's acting and the strength of his personality atoned for his vocal defects. He was equally at home in comedy and tragedy, and the two parts by which he is best remembered, Giuseppe Verdi's Rigoletto and Gioachino Rossini's Figaro, showed the spread of his talent. A large section is devoted to descriptions of Ronconi's powers in the critic Henry Fothergill Chorley's Recollections. In his later years, Ronconi founded a school of singing in Granada, Spain, and also accepted a teacher role at the Royal Conservatory of Madrid. Ronconi inspired many great Italian baritones: the most esteemed of his contemporaries/immediate successors were probably Felice Varesi, Leone Giraldoni, Francesco Graziani and Antonio Cotogni, all of whom were outstanding Verdi singers. "Torquato Tasso" è un'opera semiseria in tre atti, composta nell'estate del 1833 e rappresentata per la prima volta a Roma, al Teatro Valle, il 9 settembre dello stesso anno. Il libretto è opera di Jacopo Ferretti +••.••(...)), già librettista di Rossini per "La cenerentola" e per "Matilde di Shabran". Per Donizetti scrisse i testi dei libretti de "L'ajo nell'imbarazzo" (1824), di "Olivo e Pasquale" (1827) e de "Il furioso all'isola di Santo Domingo" (1833). Il libretto è basato su "Torquato Tasso" di Giovanni Rosini (Pisa, 1832) e "Tasso" di Carlo Goldoni (1755), "Tasso" di Goethe (1809) e "The lament of Tasso" di Byron (1817). La partitura manoscritta autografa dell'opera è conservata presso l'Archivio Ricordi, a Milano. La parte del Tasso fu composta per essere il cavallo di battaglia del baritono Giorgio Ronconi (Milano 1810- Madrid 1890), di voce acuta e "chiara", già protagonista de "Il furioso..." e destinato a ricoprire una mezza dozzina di ruoli di protagonista, o comunque di primo piano, nell'ambito della produzione operistica donizettiana, fino al 1843, e a diventare uno dei baritoni più rappresentativi della sua epoca, incarnando, a partire dal 1840 circa il prototipo del baritono verdiano, capace di stupefacenti effetti drammatici, e, al tempo stesso, di un canto elegiaco caratterizzato da mezze voci, piani e pianissimi in tessitura acutissima, praticamente tenorile.
Igor Stravinskij Gatti Zani Leroux Balbi Pauli Quartetto Noûs Scala 2000
Quartetto Noûs Tiziano Baviera - violino Alberto Franchin - violino Sara Dambruoso - viola Tommaso Tesini - violoncello Igor Stravinskij - "Trois pièces pour quatuor à cordes" 01. (Danse) 02. (Eccentrique) 03. (Cantique) "Auditorium G.Arvedi" presso il "Museo del Violino" di Cremona. Regia a cura di Fabrizio Rosso. Cameraman William Monaco. Assistente al montaggio Sandro Mungianu. Tiziano, Alberto, Sara e Tommaso ringraziano di cuore per aver contribuito generosamente alla realizzazione di questo progetto: Vincenzo Lopriore Massimo Baviera Lucia e Mario Tesini Pavia Musica 2000 Daniela Gatti Antonietta Scala Takaomi Shibata Eric Blot SRL Norberto e Barbara Baldestein Rosa e Tommaso Dambruoso Tommaso e Olga Gristina Massimo Olimpieri Raffaele Baviera Giorgio Baviera Grazie Zani Giorgio e Liliana Magagnoli Richard e Nicole Da Roit Hélène Da Roit Fabio Priori Carmen Mayo Loredana Vanti Rosanna Lecarpentier Jaqueline Leroux Thérèse Barrier Caracausi Lucio Giuseppe Balbi Danilo De Pauli Martin Löhnig quartetto nous, nous quartet
František Xaver Brixi Alessandro Scarlatti Scarlatti Francesco Feo Francesco Durante Reuter Bonno 1693 1715 1731 1732 1735 1744 1748 1749 1757 1759 1771 1788 1803
★ Follow music ► (http•••) Composer: František Xaver Brixi +••.••(...)) Work: Missa Integra D-Dur Performers: Eva Mirgová (soprano); PavIa Aunická (alto); James Griffett (tenor); Jirí SuIzenko (bass); Brno Academic Choir; Gioia deIIa musica Praha Painting: José Camarón Bonanat +••.••(...)) - San Francisco confortado por los ángeles (1788) Image in high resolution: (http•••) Further info: (http•••) Listen free: No available / František Xaver Brixi (Prague, 2 January 1732 - Prague, 14 October 1771) Organist and composer, son of Šimon Brixi +••.••(...)). He received his musical education at the Piarist Gymnasium, Kosmonosy (1744–9), where in 1748 he was classified ‘felicissimus ingenii’. In his last year at the Gymnasium his teacher was Václav Kalous (1715–86), a composer who was also choirmaster at the monastery church. In 1749 Brixi left for Prague where he became organist first at St Havel, and later at the churches of St Martín, St Mikuláš and St Mary na Louži. He soon became one of the best-known composers in Prague, evidence of which can be seen in that from 1757 to his death he was consistently chosen to write the musica navalis for St John’s Eve. On 1 January 1759 he was appointed Kapellmeister of St Vít Cathedral, thus attaining at the age of 27 the highest musical position in the city. At the same time he is said to have become choirmaster of the Benedictine monastery of St Jiří at Hradčany in Prague. He died 12 years later of tuberculosis in the hospital of the Brothers of Charity. Brixi was one of the leading musical figures of mid-18th-century Bohemia. His tremendous output of about 500 works was rooted in the Neapolitan style, particularly that of Alessandro Scarlatti, Francesco Feo and Francesco Durante, and he was also influenced by the Viennese school of Mancini, Reuter and Bonno. Brixi’s style is distinguished from that of his contemporaries by its fresh melodic writing, vivacious rhythm and lively bass lines, and from that of his predecessors by its simple yet effective instrumentation. He often made use of folk music in his works. During his lifetime his music was widely disseminated in Bohemia and Moravia, as well as in other countries, especially Austria, Bavaria and Silesia. He had a profound effect on Bohemian musical taste, and Mozart’s favourable reception in Prague in the 1780s was at least partly due to Brixi’s lasting influence. The easy appeal of his musical style left an impression on Czech composers for the rest of the 18th century.
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