Claudio Monteverdi Andromeda Video
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2024-03-21
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Vivaldi Andrea Marcon Monteverdi Ponchielli 2006
Opera barocca definita Serenata Veneziana di A. Vivaldi e altri. Scene e costumi dello scenografo, costumista e videomaker Lorenzo Cutùli; regia di Andrea Cigni e Direzione musicale di Andrea Marcon. Festival C. Monteverdi di Cremona 2006. Produzione Teatro A. Ponchielli di Cremona
Benedetto Ferrari Francesco Manelli Miro Monteverdi 1597 1603 1617 1619 1623 1633 1637 1638 1640 1641 1651 1653 1662 1674 1681
Marta Almajano, soprano (http•••) / Benedetto Ferrari (c. 1603? / 1681) was an Italian composer, particularly of opera, librettist and theorbo player. Ferrari was born in Reggio nell'Emilia. He worked in Rome +••.••(...)), Parma +••.••(...)), and possibly in Modena at some time between 1623 and 1637. He created music and libretti in Venice and Bologna, 1637-44. Ferrari's Andromeda, with music by Francesco Manelli, was the first Venetian opera performed in a public theatre (in 1637). Subsequently he provided both the text and the music for two operas, both presented in Venice: La maga fulminata (1638) and Il pastor regio (1640). The 1641 Bolognese staging of the latter included, as its final duet, the text "Pur ti miro, pur ti godo," which was later reused, possibly with Ferrari's music, for the final duet in the surviving manuscripts of Monteverdi's L'Incoronazione di Poppea. Ferrari went to Vienna in 1651, seving the emperor Ferdinand III. Upon returning to Modena in 1653 he was appointed court choirmaster. His post was eliminated in 1662 but reinstated in 1674, after which he served until his death at Modena. Many sources recount his virtuosity as a theorbo player. None of his operatic music survives. Extant works include libretti, an oratorio, and three books of monodies under the title Musiche varie a voce sola (Venice 1633, 1637, 1641). Though the last were composed within a relatively short time span, they reflect the changing style of accompanied monody, from the emergence of recitar cantando (midway between song and speech) to the vocal style that is typical of mid-17th-century opera, with a more distinctive melody and a clearer rhythm. [(http•••)
Claudio Monteverdi Santi Trojan Gonzaga Francesco Manelli Benedetto Ferrari Ulysses Teatro San Cassiano 1606 1613 1624 1637 1639 1640 1922
Il ritorno d'Ulisse in patria (SV 325, The Return of Ulysses to his Homeland) is an opera consisting of a prologue and five acts (later revised to three), set by Claudio Monteverdi to a libretto by Giacomo Badoaro. The opera was first performed at the Teatro Santi Giovanni e Paolo in Venice during the 1639–1640 carnival season. The story, taken from the second half of Homer's Odyssey,[n 1] tells how constancy and virtue are ultimately rewarded, treachery and deception overcome. After his long journey home from the Trojan Wars Ulisse, king of Ithaca, finally returns to his kingdom where he finds that a trio of villainous suitors are importuning his faithful queen, Penelope. With the assistance of the gods, his son Telemaco and a staunch friend Eumete, Ulisse vanquishes the suitors and recovers his kingdom. Il ritorno is the first of three full-length works which Monteverdi wrote for the burgeoning Venetian opera industry during the last five years of his life. After its initial successful run in Venice the opera was performed in Bologna before returning to Venice for the 1640–41 season. Thereafter, except for a possible performance at the Imperial court in Vienna late in the 17th century, there were no further revivals until the 20th century. The music became known in modern times through the 19th-century discovery of an incomplete manuscript score which in many respects is inconsistent with the surviving versions of the libretto. After its publication in 1922 the score's authenticity was widely questioned, and performances of the opera remained rare during the next 30 years. By the 1950s the work was generally accepted as Monteverdi's, and after revivals in Vienna and Glyndebourne in the early 1970s it became increasingly popular. It has since been performed in opera houses all over the world, and has been recorded many times. Together with Monteverdi's other Venetian stage works, Il ritorno is classified as one of the first modern operas. Its music, while showing the influence of earlier works, also demonstrates Monteverdi's development as a composer of opera, through his use of fashionable forms such as arioso, duet and ensemble alongside the older-style recitative. By using a variety of musical styles, Monteverdi is able to express the feelings and emotions of a great range of characters, divine and human, through their music. Il ritorno has been described as an "ugly duckling", and conversely as the most tender and moving of Monteverdi's surviving operas, one which although it might disappoint initially, will on subsequent hearings reveal a vocal style of extraordinary eloquence. Monteverdi was an established court composer in the service of Duke Vincenzo Gonzaga in Mantua when he wrote his first operas, L'Orfeo and L'Arianna, in the years 1606–08. After falling out with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice in 1613 and became director of music at St Mark's Basilica, a position he held for the rest of his life. Alongside his steady output of madrigals and church music, Monteverdi continued to compose works for the stage, though not actual operas. He wrote several ballets and, for the Venice carnival of 1624–25, Il combattimento di Tancredi e Clorinda ("The Battle of Tancred and Clorinda"), a hybrid work with some characteristics of ballet, opera and oratorio. In 1637 fully-fledged opera came to Venice with the opening of the Teatro San Cassiano. Sponsored by the wealthy Tron family, this theatre was the first in the world specifically devoted to opera.[5] The theatre's inaugural performance, on 6 March 1637, was L'Andromeda by Francesco Manelli and Benedetto Ferrari. This work was received with great enthusiasm, as was the same pair's La Maga fulminata the following year. In rapid succession three more opera houses opened in the city, as the ruling families of the Republic sought to express their wealth and status by investing in the new musical fashion. At first, Monteverdi remained aloof from these activities, perhaps on account of his age (he was over 70), or perhaps through the dignity of his office as maestro di capella at St. Mark's. Nevertheless, an unidentified contemporary, commenting on Monteverdi's silence, opined that the maestro might yet produce an opera for Venice: "God willing, one of these nights he too will step onto the stage." This remark proved prescient; Monteverdi's first public contribution to Venetian opera came in the 1639–40 carnival season, a revival of his L'Arianna at the Teatro San Moisè./ *Download the audio file free here: (http•••)/ If you like this video subscribe to my channel. There are many more videos like this one lovingly prepared and edited by myself for your enjoyment! Check out my extensive playlist collections as well.
Music:Amadeus Mozart..requiem mass D minor VI-lagrimosa,john eliot bardiner conducts the english baroque soloists and the monteverdi choir(barcelona,spain),collision between Via lactes and Andromeda,collision 200.000.000 of stars,we see in the future approximately in 5.000.000.000 o´ 7.000.000.000 years....
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