Claudio Monteverdi Il ritorno d'Ulisse in patria Video
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Claudio Monteverdi Láska Belli Tomáš Kořínek Zajíček Válek Czech Ensemble Baroque 2013
(http•••) | Festivalová stagiona, Hudební festival Znojmo 2013 | premiéra 25. 7. 2013 | (http•••) Claudio Monteverdi: Combattimento / víra, láska, naděje. Autentická barokní interpretace na dobové nástroje. / Il Prologo (Il Ritorno d´Ulisse in Patria) SV325 / Il Combattimento di Tancredi e Clorinda SV153 / Ardo avvampo (8. Kniha madrigalů) / Altri canti di Marte - Due belli occhi (8. Kniha madrigalů) / Vago augeletto (8. Kniha madrigalů) / Tirsi e Clori (7. Kniha madrigalů) Účinkují Czech Ensemble Baroque Soprán / Stanislava Mihalcová, Tereza Válková Alt / Markéta Cukrová Kontratenor / Martin Ptáček Tenor / Jaroslav Březina, Tomáš Kořínek Bas / Joel Frederiksen, Martin Vacula Tanec / Jitka Košíková Koncertní mistr / Peter Zajíček Dirigent / Roman Válek Light design / Arnošt Janěk Scéna, kostýmy / Jaroslav Milfajt Režie / Ladislava Košíková Derniéra 28. 7. 2013 / Znojmo, Kostel sv. Michala (http•••) VideoBrothers s.r.o. (http•••) | (http•••)
Claudio Monteverdi Emmanuelle Haïm Emiliano Gonzalez Toro Gonzalez Boublil 2017
Monteverdi : Le retour d'Ulysse : le monologue d'Iro (Acte III) par le Concert d'Astrée et Emiliano Gonzalez Toro Claudio Monteverdi O dolor o martir, monologue d’Iro (Le Retour d’Ulysse dans sa patrie) Emiliano Gonzalez Toro, ténor Le Concert d’Astrée : Laura Monica Pustilnik, archiluth / Lynda Sayce, théorbe / Nora Roll, lirone / Atsushi Sakaï, viole de gambe / Emmanuelle Haïm, clavecins, orgue et direction Extrait du deuxième volet du triptyque enregistré en public au Studio 104 le samedi 11 mars 2017 en compagnie du très charismatique Rolando Villazon et présenté par Elsa Boublil : Métamorphoses et Variations en tous genres ! (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.
Claudio Monteverdi Sir John Eliot Gardiner Fenice 2017
From the Teatro La Fenice in Venice, Italy Recorded in June 2017, on the occasion of the 450th anniversary of Monteverdi Sir John Eliot Gardiner - conductor Lucile Richardot - mezzo-soprano Gianluca Burrato - bass Michal Czerniawski - countertenor Gareth Treseder - tenor Anna Dennis - soprano Claudio Monteverdi - Il ritorno d’Ulisse in patria (SV 325) Subscribe for more content: (http•••)
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