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Ужастик по мотивам Скарлтти!

Genial ópera de cámara.No la 56:56 conocía. Excelente puesta en escena. Maraviĺlosas voces. El teatro Colón, qué más puedo decir? 57:03

Si! Bravi a tutti ^^ Oh quel storia trista!

Seltsam, daß bei dieser Einspielung die Ouverture/Sinfonia weggelassen wurde - warum? Von den vielen Vertonungen des Stoffes vom 17. bis ins 20. Jahrhundert sicher eine der besten, wenn auch an Tiefe und Differenzierung musikalisch und psychologisch natürlich längst nicht an Mozart heranreichend. Aber man kann das Werk einfach genießen, ohne immer Vergleiche zu ziehen! Wunderschön ist die Cavatina der Elvira (bei 15:00). Wer eine alternative sehr gute Einspielung hören möchte, kann zu der aus dem Jahr 1963 mit Coro e Orchestra della Radiotelevisione della Svizzera Italiana unter der Leitung von Herbert Handt greifen.

What is the aria at around 24:00 called?

1:59:49 pleasr pop out they look so sexy

It's a shame that such beautiful and rarely performed operas are ruined by such idiotic scenic ideas!

43:19 - My best friend and I have been quoting this constantly around the coronation of Charles.

❤

Perverts reveling in filth. It’s trash people. You do know they have web sites for this, often with victims of trafficking abuse. Enjoy ☺️

Que aburrido,soi cantante de opera..me estoi viendo todo esto..y que aburrida me siento...

Eccellente! Bravo!

Great Zoran, i love you. You are right!! What can i say;;; There is no creation "out of nothing", Certo, certo!!!

quite enjoyed this extraordinary one. thanks.

Hermosos eventos

FANTASTICO ALLESTIMENTO GRAZIE X LA CONDIVISIONE! Il Gazzaniga allievo veronese del grande Antonio Porpora Maestro dell Opera Napoletana, doveva ricavare un opera di breve durata x una festa della Repubblica Serenissima.L opera era ben nota al Da Ponte che si dice abbia copiato dal Bertati il libretto ampliandolo per "l uso" del Divino Mozart, il quale poi ci ha regalato quel capolavoro che tutti conosciamo.

1:56:59

1:46:49

13:10

42:09

47:53 its good for her opera tonsils

46:18 its tickling her thrrrrrroat

Извините! При всей моей любви к Скарлатти не смога это слушать. Лучше в сотый раз послушать Stabat Mater или Griselde в хорошем исполнении .Или послушать безупречное пение Франко Фаджоли. Он тоже пел Скаратти. Но он поет безупречно любого композитора.

47:53 she swallowed

46:18 opera blow job

42:00 those big billowy breasts

Cool to hear a performance with Bandoneon!! Bravi!

こりゃやばいわ

main theme sounds like franz waxman’s “lisa” from rear window. no subtitles though … ill get the libretto soon and come back to make more insightful witty comments.

Delightful! Thank you for bringing this maestro's work to the world!

Is it me or is Las Vegas Mavis making a cameo?

Спасибо за А. Скарлатти .Последнее время он становиться моим любимым композитором. Его музыка просто завораживает меня свей красотой и совершенством. Каждая новая постановка произведений А.Скарлатти,этог гения, создателя всех этих вокальных и музыкальных форм, вселяет надежду, что и для его музыки придет звездный час и можно будет прослушать любое его произведение.

malisima escena de gran mal gusto, buena ejecution, es necesario profesionalismo no dilectantismo

una autentica meraviglia che ascolto con crescente stupore

Opera magnifica.Il mito di Mozart è un'invenzione della massoneria .Grazie al teatro Colon per questa splendida operazione culturale

Bellisimo, que hermoso descubrir a Alessandro Scarlatti a mis 30 bellisimo

Magnificent piece and performance!

Marcelo Ayub, es sinceramente lo mejor, ante una partitura tan compleja, los sonidos que logró una verdadera maravilla.

Kaiser Overall: Luciano Garay, baritone Death: Hernán Iturralde, bass-baritone The Loudspeaker: Gui Gallardo, bass-baritone Harlekin: Enrique Folger, tenor Bubikopf (a Maiden): Laura Rizzo, soprano The Drummer: Alejandra Malvino, mezzo soprano A Soldier: Gabriel Renaud, tenor Prologue A voice heard over a loudspeaker sets the scene and presents the characters. Scene 1 Harlequin describes his sorry life without laughter or love. Death joins him and together they lament how slowly time passes in their grim environment. Death belittles Harlequin's wish to die and explains how much more dire his own situation is than that of Harlequin. He lacks respect now that the "old-fashioned craft of dying" has been replaced by "motorized chariots of war" that work him to exhaustion with little satisfaction. The Drummer announces the latest decree of the Emperor: Everyone will be armed and everyone will fight until there are no survivors. Death denounces the Emperor for usurping his role: "To take men's souls is my job, not his!" He declares that he is on strike and breaks his saber. Scene 2 In his palace, the Emperor gives battle orders and monitors the progress of the universal war. He learns of a man who continues to live eighty minutes after being hanged and shot. The Loudspeaker reports that thousands of soldiers are "wrestling with life...doing their best to die" without success. Fearful that his power will not endure without death, the Emperor announces that he has decided to reward his subjects with the gift of eternal life. More honestly, he asks: "Death, where is thy sting? Where is thy victory, Hell?" Scene 3 A Soldier and a Maiden (the Bobbed-Hair Girl) confront one another as enemies. Unable to kill each other, their thoughts turn to love. They dream of distant places where kind words exist alongside "meadows filled with color and fragrance." The Drummer attempts to lure them back to battle with the sensual attraction of the call. The Maiden responds: "Now death is dead and so we need to fight no more!" She and the Soldier sing: "Only love can unite us, unite us all together." Scene 4 The Emperor continues to oversee his failing realm, where his subjects angrily protest their suspension in limbo between life and death. Harlequin appeals to him, reminding him of his innocent childhood. The Drummer urges the Emperor to maintain his resolve, but the Emperor's memories turn his thoughts from his plans for the annihilation of all. Instead he gazes into a covered mirror and asks: "What do men look like? Am I still a man or just the adding machine of God?" He pulls away the mirror's cloth and faces the reflection of Death. "Who are you?" he demands. Death describes his role modestly, like that of a gardener "who roots up wilting weeds, life's worn-out fellows." He regrets the pain his strike is causing. When the Emperor asks him to resume his duties, Death proposes a resolution to the crisis: "I'm prepared to make peace, if you are prepared to make a sacrifice: will you be the first one to try out the new death?" After some resistance, the Emperor agrees and the suffering people find release in death once more. The Emperor sings his farewell. In a closing chorus, Death is praised and asked to "teach us to keep your holiest law: Thou shalt not use the name of Death in vain now and forever!"

Grazie Mille asisti a 3 funciones y me quede con ganas de verla de nuevo ahora cumplo mi deseo GRACIAAAAAAS

Bellissima! 20:54 .... "There is no creation "out of nothing". Music history is so simplified that it is actually incorrect. Lending in music is like a "good day", it is "food" without which there are no successful future music pieces. Only those who are able to successfully vary the "idea" they take produce significant works. Even before Bach, Handel, Vivaldi, Telemann there were composers ... Even the great Mozart took musical ideas from many (Hermann Friedrich Raupach, Johann Gottfried Eckard, Johann Schobert, Leontzi Honauer , Chevalier de Saint-Georges.... Listen, compare how Giuseppe Gacaniga's "Don Giovanni Tenorio" (February 5, 1787) evolved into Mozart's "Don Juan" (October 29, 1787)! Or André Grétry „L’Amant jaloux“, 1778., or how Paisel's "Barber of Seville" ("Il Barbiere di Siviglia" in 1782 by Giovanni Paisiello) evolved into Mozart's "Figar's Marriage" (1786) as well as Rosie's "The Barber of Seville". Similarly: Pasquale Anfossi "La finta giardiniera (Anfossi)" (December 26, 1773) becomes Mozart's "La finta giardiniera" (January 13, 1775). " Zoran Stokic vioti11.blogspot.com/2018/07/mocart-salijeri-evolucija-stvaralastva.html

Artisti dont have a coloratura technik

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elencazo muchas gracias por compartir