You can see it follows a very similar plot to the Rossini, but treats it very differently. Where Rossini is bubbling, vivacious and humorous, Paisello is much more Mozartian, not only in musical style but in the greater depth of emotion. I particularly liked 'saper bramate' and 'Giusto ciel'.
@@pasqualegiorio3651 You may be right because Mozart himself admired Paisiello's operatic style so much that he patterned his own Italian-libretto operas such as "The Marriage Of Figaro," "Don Giovanni," "Cosi Fan Tutte," "Idomeneo," and "La Clemenza Di Tito" after those of Paisiello.
@@seniorosity68 I don't agree with this argument. Mozart's firsts operas are from 1767-68; he was 11 yo. "Idomeneo" is from 1781 and Paisiello's most famous opera, "Il barbiere..." is from 1782. The other operas you mention are about the same time after 1782. We have to consider Mozart was composing as a child already and Paisiello was in his twenties when he started as a composer; he started after Mozart. This is an interesting comparison, but it requires a detailed study.
@@nietzschearistofanes Mozart organized his musical ideas with tools - technical methods - created by his Contemporaries - successful famous composers. One example Anfossi's andante has the same intervals as the tenor voice in Confutatis ( that is, the same notes, transferred to another key: the andante is in fact in D minor and the "Confutatis" in A minor), with the exception of the fourth note. According to this analysis, the equivalence is confirmed by the presence of the same harmonic structure and by the precise rhythmic correspondence (quaver with dot, semiquaver, minima, minima), although in Mozart a final rest (crotchet) is added. In subsequent music criticism, Anfossi's influences on Mozart's work were recognized. Mozart knew Anfossi well, so much so that he cites him in two letters about him: in one he calls him "very well known Neapolitan", in the other he says "my enemies say that I want to correct Anfossi's work". Subsequently he wrote arias for Anfossi's Il Curoso Indiscreto and Le gelose fortunate on the occasion of two performances in Vienna in 1783 and 1788. Pasquale Anfossi "La finta giardiniera (1773)" becomes "Mozart's" La finta giardiniera "(January 13, 1775).
Mozart organized his musical ideas with tools - technical methods - created by his Contemporaries - successful famous composers. One example Anfossi's andante has the same intervals as the tenor voice in Confutatis ( that is, the same notes, transferred to another key: the andante is in fact in D minor and the "Confutatis" in A minor), with the exception of the fourth note. According to this analysis, the equivalence is confirmed by the presence of the same harmonic structure and by the precise rhythmic correspondence (quaver with dot, semiquaver, minima, minima), although in Mozart a final rest (crotchet) is added. In subsequent music criticism, Anfossi's influences on Mozart's work were recognized. Mozart knew Anfossi well, so much so that he cites him in two letters about him: in one he calls him "very well known Neapolitan", in the other he says "my enemies say that I want to correct Anfossi's work". Subsequently he wrote arias for Anfossi's Il Curoso Indiscreto and Le gelose fortunate on the occasion of two performances in Vienna in 1783 and 1788. Pasquale Anfossi "La finta giardiniera (1773)" becomes "Mozart's" La finta giardiniera "(January 13, 1775).
The style is remarkably similar -- almost identical -- to Mozart, isn't it? I've only listened to the first half hour, but so far Paisiello has no achieved the lyric poignancy of the greater master. Though Paisiello was 15 years older, one can't help but wonder who influenced whom?
Come fa ad essere ispirata al "Barbiere di Siviglia" dato che quest'opera appunto, è proprio il "Barbiere di Siviglia"?....Questa è la prima versione musicale della commedia di Beaumarchais, e non puo' essere ispirata neanche alle Nozze di Figaro di Mozart dato che Mozart compose quell'opera nel 1786, mentre il Barbiere di Paisiello è stato scritto nel 1782...semmai è Mozart ad essersi ispirato a Paisiello, perlomeno nella scelta del soggetto.
@@proarte4081 è di 2 anni fa ma ...si, Mozart decise di mettere in musica il secondo libro della trilogia di Beaumarchais perché Paisiello stava avendo un successo strepitoso in europa e, spesso, musicalmente omaggia il Barbiere ne le Nozze di Figaro :)
Bellissima, ha anticipato quell'opera di Rossini!
Paisiello è un autore di forte personalità che ha influenzato anche artisti sommi, come per esempio Mozart! Grazie per aver postato questo video!
Versione gradevole , orchestrata e cantata egregiamente .
Grazie per aver messo a disposizione di tutti noi questo splendido Barbiere del grande Paisiello.
The Rosina, Vassiliki Karajanni, is SUPERB --- and so beautiful to behold as well.
I'd love to hear her sing Pamina, wouldn't you?
21:51 "Saper bramate". famously used in "Barry Lyndon" during the cards scenes.
"je suis fatigue... allons-nous?"
Wallace Wallace
c'est pas important
“Ho l’impressione che voi barate”
25:59 "Figaro Figaro Figaro Figarooo" Rossini surely took inspiration from here!!!!!
Or, maybe, the improvisation of this singer in this scene got inspiration in the Rossini's "Figaro...". We would have to check both scores.
bello
Both this opera and Rossini's opera are based on the play 'Le Barbier de Séville ou La Precaution Inutille' by Pièrre Augustin Caron de Beaumarchais.
Спасибо,впервые слышу эту оперу.Незнала,что "Свадьба Фигаро"и Паизиэлло написал.Слушала Россини,Моцарта
You can see it follows a very similar plot to the Rossini, but treats it very differently. Where Rossini is bubbling, vivacious and humorous, Paisello is much more Mozartian, not only in musical style but in the greater depth of emotion. I particularly liked 'saper bramate' and 'Giusto ciel'.
Actually, Mozart was Paisiellan?
@@pasqualegiorio3651 You may be right because Mozart himself admired Paisiello's operatic style so much that he patterned his own Italian-libretto operas such as "The Marriage Of Figaro," "Don Giovanni," "Cosi Fan Tutte," "Idomeneo," and "La Clemenza Di Tito" after those of Paisiello.
@@seniorosity68 I don't agree with this argument. Mozart's firsts operas are from 1767-68; he was 11 yo. "Idomeneo" is from 1781 and Paisiello's most famous opera, "Il barbiere..." is from 1782. The other operas you mention are about the same time after 1782. We have to consider Mozart was composing as a child already and Paisiello was in his twenties when he started as a composer; he started after Mozart. This is an interesting comparison, but it requires a detailed study.
@@nietzschearistofanes Mozart organized his musical ideas with tools - technical methods - created by his Contemporaries - successful famous composers. One example Anfossi's andante has the same intervals as the tenor voice in Confutatis ( that is, the same notes, transferred to another key: the andante is in fact in D minor and the "Confutatis" in A minor), with the exception of the fourth note. According to this analysis, the equivalence is confirmed by the presence of the same harmonic structure and by the precise rhythmic correspondence (quaver with dot, semiquaver, minima, minima), although in Mozart a final rest (crotchet) is added. In subsequent music criticism, Anfossi's influences on Mozart's work were recognized. Mozart knew Anfossi well, so much so that he cites him in two letters about him: in one he calls him "very well known Neapolitan", in the other he says "my enemies say that I want to correct Anfossi's work". Subsequently he wrote arias for Anfossi's Il Curoso Indiscreto and Le gelose fortunate on the occasion of two performances in Vienna in 1783 and 1788. Pasquale Anfossi "La finta giardiniera (1773)" becomes "Mozart's" La finta giardiniera "(January 13, 1775).
Gracias! (Thanks!)
Mozart organized his musical ideas with tools - technical methods - created by his Contemporaries - successful famous composers. One example Anfossi's andante has the same intervals as the tenor voice in Confutatis ( that is, the same notes, transferred to another key: the andante is in fact in D minor and the "Confutatis" in A minor), with the exception of the fourth note. According to this analysis, the equivalence is confirmed by the presence of the same harmonic structure and by the precise rhythmic correspondence (quaver with dot, semiquaver, minima, minima), although in Mozart a final rest (crotchet) is added. In subsequent music criticism, Anfossi's influences on Mozart's work were recognized. Mozart knew Anfossi well, so much so that he cites him in two letters about him: in one he calls him "very well known Neapolitan", in the other he says "my enemies say that I want to correct Anfossi's work". Subsequently he wrote arias for Anfossi's Il Curoso Indiscreto and Le gelose fortunate on the occasion of two performances in Vienna in 1783 and 1788. Pasquale Anfossi "La finta giardiniera (1773)" becomes "Mozart's" La finta giardiniera "(January 13, 1775).
Correction: It premiered in 1782 not 1792
Un opera molto bella ma a mio avviso avresti dovuto mettere i sottotiltoli dall'inizio alla fine!Grazie comunque per la condivisione!!
The style is remarkably similar -- almost identical -- to Mozart, isn't it? I've only listened to the first half hour, but so far Paisiello has no achieved the lyric poignancy of the greater master. Though Paisiello was 15 years older, one can't help but wonder who influenced whom?
I wouldn't seek influence of any particular composer here, rather the whole Neapolitan opera style which both Paisiello and Mozart were familiar with.
1740-1816. 275 AÑOS DE NACIDO
Un uomo senza vino, morrebbe poverino......
Mozart va escriure la seua "nozze di figaro" perque aquesta ja estava representant-se i amb molt d'èxit.
Muito melhor que a sua cópia feita por Rossini....
Ma più che ispirata dal barbiere di siviglia la musica mi ricorda alle nozze di figaro
Come fa ad essere ispirata al "Barbiere di Siviglia" dato che quest'opera appunto, è proprio il "Barbiere di Siviglia"?....Questa è la prima versione musicale della commedia di Beaumarchais, e non puo' essere ispirata neanche alle Nozze di Figaro di Mozart dato che Mozart compose quell'opera nel 1786, mentre il Barbiere di Paisiello è stato scritto nel 1782...semmai è Mozart ad essersi ispirato a Paisiello, perlomeno nella scelta del soggetto.
@@proarte4081 è di 2 anni fa ma ...si, Mozart decise di mettere in musica il secondo libro della trilogia di Beaumarchais perché Paisiello stava avendo un successo strepitoso in europa e, spesso, musicalmente omaggia il Barbiere ne le Nozze di Figaro :)