È Semplicemente stupendo! La mia opera cantata preferita, e pensare che ha più di 300 anni! È incredibile quanto una storia scritta così tanto tempo fa sia ancora così bella😁
Ciao sono una ragazza di 13 anni mi piace tanto quest' opera Oggi sono andata a teatro a vedere l opera dal vivo con a scuola È un esperienza da vivere davvero molto bella appena a scola ne abbiamo parlato ho voluto subito approfondire e ho trovato questo È sempliceme FANTASTICA 🤩🤩🤩🤩
Sapevamo tutti che La Serva Padrona era un capolavoro. Con Fasolis e gli altri protagonisti di questa meravigliosa rappresentazione abbiamo capito perché!
Furio.... mamma mia che voce!!! Una voce chiara e limpida da baritono, morbida.... e poi nel registro medio grave e in quello grave imbrunisce naturalmente... con dei gravi degni di un basso. Bellissimo timbro, fantastico!!!!! =)
This opera hit the Paris of Rameau like a thunderbolt, touching off a debate that lasted for decades. (1) It was short. (2) it was genuinely funny. (3) and most important, all the characters were ordinary people. No Greek or Roman gods, no legendary heroes, etc.
I met Sonya Yoncheva, many years ago, thank this performance. I fell in loving with her voice and I and I knew she was destined to be a great star. So it was
13:00 Beautiful Sonya Yoncheva sings with the most alluring expressions. Lovely acting! She’s such doll! ❤️💔🎶💔 At 22:13 I’m hooked…Poor Uberto’s a bit slow, because I think I’d take less convincing to do what she says! lol 26:39 Serpina’s expression is priceless, as she works her delightful feminine charms’ 38:54 At last! 39:10 Such darling theatrics and 39:20 wily expressions! 39:43 delightful Baroque passage Furio Zamasi an excellent Umberto. Love the closing duet! Don’t you think the two extras were more of a distraction? Just a thought.
The woman who plays the violin on the back ground has a a low-cut evening dress in this shot 39:45 but then at 39:56 she is wearing a a dress with long sleeves. How is it possible? I thought this was a live performance on theatre!
il Fasolone è il migliore!! io e la mia lasse abbiamo anche creato una fan page in suo onore su facebook dopo aver visto questo suo stupendo lavoro. complimenti al nostro grande direttore!!!
bravo ragazzi. voci fantastiche! fasolis e sonya yoncheva on top. danke an rsi: für solche produktionen bezahle ich gerne den billag-obulus nach lugano
Io sono bella, graziosa, spiritosa. When it comes the relations between men and women, it is somehow gratifying to know that they knew everything there was to know around 1730. Nothing has been added since then. Leo Depuydt
What is the title of the opera? Who is the composer? What is the style of the opera(opera seria/opera buffa)?why? What is the opera all about? (give a short storyline)
Does anyone know the source of the postlude sung by the two servants? Ah, I have answered my own question! It is a variant version of the finale, also by Pergolesi, but much more in the mode. An interesting solution to give it to the servants, even though we have to put up with far too many of their antics in the show itself.
One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V to my RUclips posting. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections. ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC: AN ESSAY (PART IIIa) _by_ Leo Depuydt _To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_ APPENDIX: SUPPORTING MATERIALS APPENDIX, SECTION Ia: Historical Notes on the Appreciation of Pergolesi’s Music It needs to be said-and it needs to be repeated-about the composer Giovanni Battista Pergolesi (1710-1736): _Pergolesi rappresenta quello che è veramente importante in Italia: Eccellenza in nome dell’eccellenza._ Style is everything, _dixit_ G.-L. Leclerc (1707-1783), Comte de Buffon, who actually said, “The style is the man (_Le style c’est l’homme même_)”. In that regard, G. B. Pergolesi (1710-1736) is a true inspiration. The celebrated traveler, author, and musician Ch. Burney (1726-1814), father of the novelist Fanny Burney, described G. B. Pergolesi’s music not only as singularly clear (_chiaro_), simple (_semplice_), and true (_vero_), but also as sweet (_dolce_) [1]. In this connection, the Belgian composer A. E. M. Grétry (1741-1813), who won great acclaim at theaters and the royal court in France, who wrote the music for Voltaire’s funeral, and whose body is buried at the famed Père Lachaise cemetery in Paris while his heart rests in a shrine below a statue of him towering in front of the Royal Opera of Wallonia in his native Liège in Belgium, famously stated the following about G. B. Pergolesi in his Memoirs [2]: _Pergolesi was born and the truth was known (Pergolèze naquit et la vérité fut connue)._ G. Radiciotti fittingly put this statement on the title page of the first edition of his biography of G. B. Pergolesi [3]. A street is named after A. E. M. Grétry in the center of Brussels, Belgium. And a restaurant in this street even bears the name of his memoirs. G. B. Pergolesi’s most ardent admirer, A. E. M. Grétry, seems to have suffered a fate even worse than the subject of his admiration. One just wonders how many patrons of the afore-mentioned restaurant “The Memoirs of Grétry” in the Grétry Street in Brussels know who A. E. M. Grétry was. A remarkable property characterizes the personality and the work of G. B. Pergolesi. After a long interlude of oblivion, his star has been-relatively speaking-sharply on the rise in the last 30 to 40 years or so, accelerating rapidly especially in the 1980s and 1990s, most of the acceleration occurring after my undergraduate years and much of it even after my graduate work. This means that, when I was a student, there would have been little incentive to recognize G. B. Pergolesi as a prime paragon of Western civilization. And in fact, my own interest in his personality and his work has been the result of chance encounters in recent years. I happened to hear his incomparable _Stabat mater_ a few years ago just by accident. Very nice. But I assumed that he was a “one-trick-donkey” who had died young. Little did I know until about two years ago. There has been a flurry of activity roughly in recent decades, accelerating in the 1980s and the 1990s. This activity includes world premiers in modern times of many musical works including his seemingly forgotten operas, conferences devoted to him, a new series entitled “Pergolesi Studies/Studi Pergolesiani”, research centers founded in New York and Milan, and a guide to research [4], to which I refer for more detail. B. S. Brook, F. Degrada, H. Hucke, D.E. Monson, M. E. Paymer, C. Toscani, and others have been at the forefront of the revival of Pergolesi scholarship. It may be noted in the margin that the music by A. E. M. Grétry has also made something of a comeback. And, in general, period interpretations of baroque works have been on the rise. For half of my life, the second Brandenburg concert was almost never played on natural baroque trumpets. Now, using a natural trumpet is _de rigueur_. It will be useful to buttress what has been said before, first, by detailing G. B. Pergolesi’s style a little more and second by showing that the revival of his music is not a fluke in the sense that-while there have been his detractors, some ardent-many others have considered his music unsurpassed and some even unparalleled. Four observations on style. First, “natural” is a property that I should have added to the characteristics of G. B. Pergolesi’s style already mentioned above and also elsewhere. According to A. E. M. Grétry [5], _the truth of declamation constituting [G. B. Pergolesi’s] songs is as indestructible as nature (la vérité de déclamation qui constitue ses chants, est indestructible comme la nature_). Second, G. B. Pergolesi is in my opinion on quite a few occasions just ever so subtly mischievous (_birichino_ in Italian?) in a way that I only rarely discern in the music of other composers. It seems to mean that he does not take himself too seriously. And that is good to know. Third, citing an eyewitness account gathered in the course of his travels in Italy, Ch. Burney describes G. B. Pergolesi as a “slow composer” [6]. His biographer G. Radiciotti interprets Ch. Burney as stating that the composer was “an accurate worker using a file ([_un_] _lavoratore accurato e di lima_)” [7]. This seems like a mistranslation improving on the original. But the fourth characteristic has been the most inspiring, to me at least. It is the way in which G. B. Pergolesi’s lines of melody (supported by an accompaniment that never takes control but impeccably does all it possibly can to enhance the melodic line) run from the very beginning to the very end without a single note being out of place, and all this with-at almost every turn-plenty of originality and unexpected and interesting twists that surprise but never either disrupt the line or displease. Originality by itself could be classified as yet a fifth characteristic. G. B. Pergolesi’s melodic lines stand as a metaphor of how one would like an intellectual argument to proceed. Again, style is everything. D. Monson has established that the composer “wrote the music for the vocal line before writing the bass and accompaniment” [8]. In the same way, the stepwise rigorous intellectual coherence of the main line of an intellectual argument is paramount. (_Continued in Part IIIb._)
Operetta in 2 atti svolgesi Bologna. Ved i in metà settecento.eleganntissima lingua,stile e sintassi ma nes❤suna pretesa.nenmeno du riempmissionesull portafoglio
One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V to my RUclips posting. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections. ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC: AN ESSAY (PART II) _by_ Leo Depuydt _To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_ (_Continuation of the main text in Part I._) First are the six features that set apart Pergolesi from his teacher Durante according to Pergolesi, as follows: 1) _L’allievo Pergolese_ [Correction!: Pergolesi always signed his name “Pergolesi”] _all’opposto era pieno di estro e vivacità;_ 2) _accoppiava insieme lo stilo forte ed armonioso ne’_ repieni _delle voci_ 3) _con un_ accompagnamento _instrumentale_ [sic]_, che sempre cantava;_ 4) _mosse naturali dei bassi per lo più_ camminanti _, che anch’essi cantavano;_ 5) _un passeggiar di tuoni semplice e regolare, ma sempre rintracciando nuovi sentieri;_ 6) _e quindi se qualche volta mostravasi lungo anzi che no, pure non attediava._ de Rosa’s description continues with features that first (_primo_) manifested themselves in Pergolesi’s music in his opinion, as follows: 7)_Egli si fu il primo, cui venne in pensiero vestire qualche_ Aria _di un accompagnamento_ instrumentale _diverso dalla_ cantilena _dell’attore,_ 8)_egli il primo che tra i due violini intrecciasse due motivi diversi;_ 9)_egli il primo che pose in campo il_ semitonare _cantando;_ 10)_in somma egli il primo che spogliasse la_ cantilena _delle_ ariette _dal difficile e secco dello Scarlatti, e cercasse, per quanto fosse possibile, adattarla alla passione, che destar dovevano le parole, onde coll’espressione del cantante si commovesse il cuore di chi ascoltava. Dotato dalla natura di un cuore sensibilissimo, non iscrisse un verso di musica, che non corrispondesse alle parole, che volle animar con forza e finezza, consultando sempre la natura, e la verità, …._ I classify the rest of this sentence as an eleventh characteristic: 11) _... senza far uso di quelle fragorose modulazioni, che simili alle fugitive meteore, abbagliano talvolta gl’ignoranti, ma che tosto svaniscono e nel nulla restan sepolte._ A more detailed discussion of this unparalleled characterization of Pergolesi’s music is desirable. The need is for illustrating each with concrete musical examples. The examples are very much present to me. But I do not know exactly as to how to present it. The fact remains that there is nothing like Pergolesi’s music anywhere. Meanwhile, here is a provisional English translation of de Rosa’s epochal text (now completely forgotten, I again note): “(1) His (Durante’s) student Pergolesi was, by contrast, full of whim (¬_estro_) and vivacity, (2) which he combined with his (Durante’s own) strong and harmonious style of voices singing all together [that is, in _¬tutti_], (3) and also with instrumental accompaniments that always sing, (4) as well as with natural movements by the basses that almost always march on while also singing, (5) and moreover with a progression of notes that is simple and regular while always tracing new paths. (6) And so when he (Pergolesi) sometimes expressed himself at greater length (‘rather longer than shorter’), he never caused boredom”. (On to the features that the Marquese believed Pergolesi to be the first to exhibit in the history of music.) “He was (1) the first who came up with the idea of adorning an aria with an instrumental accompaniment that differed from the melody of the actor, (2) the first who made the two violin parts intertwine two different motives, (3) the first to put into the field the singing halftone, (4) in sum the first who stripped the sing-song of the arias from the difficult and dry properties of Scarlatti’s arias and sought as much as possible to adapt it to the passion that the words are designed to excite so that the heart of the listener moved along with the expression of the singer. Gifted with the nature of a most sensible heart, he never wrote a verse of music that did not correspond to the words, which he wished to animate with strength and finesse, always consulting with nature and truth,” (and classifying the following property separately) “without using the deafening modulations that, like fleeting meteors, at times dazzle the ignoramuses but before long vanish and remain buried in nothingness”. I hope to discuss these characteristics in detail at a later time. I am not sure about how to convey musical examples.
In questa interpretazione manca il duetto "Per te io ho nel core". E' presente solo il duetto della versione originale "Contento tu sarai". Bella interpretazione. Grazie
Il duetto "Per te io ho nel core" e' stato scritto nel 1735 da Pergolesi per l' opera Il Flaminio ed era usanza che durante tutto il 1700 venisse eseguito al posto di "Contento tu sarai" che siamo solitamente abituati ad ascoltare a conclusione di questo intermezzo buffo dell' opera Il prigionier superbo sempre su libretto del Federico.
"serva padrona" 2.Giovan Battista Pergolesi 3.Opera buffa, it's an intermezzo 4. Serpina wants to marry Uberto so Vespone (the mute) pretend to marry Serpina, so Uberto ask Serpina to marry him not Vespone
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È Semplicemente stupendo!
La mia opera cantata preferita, e pensare che ha più di 300 anni! È incredibile quanto una storia scritta così tanto tempo fa sia ancora così bella😁
Mai vista una rappresentazione così egregia e raffinata de la Serva Padrone, esalta alla grande le magiche note di Pergolesi
Ciao sono una ragazza di 13 anni mi piace tanto quest' opera
Oggi sono andata a teatro a vedere l opera dal vivo con a scuola
È un esperienza da vivere davvero molto bella appena a scola ne abbiamo parlato ho voluto subito approfondire e ho trovato questo
È sempliceme FANTASTICA 🤩🤩🤩🤩
Complimenti vivissimi!
Se ti è piaciuta, ti suggerisco anche tutto il repertorio delle opere barocche di Handel, Vivaldi, Scarlatti, Porpora e altri contemporanei
Felice di aver condiviso il palco con questi bravi artisti… ci siamo divertiti, bei ricordi…
Un onore la sua presenza qua. Grazie a lei e agli altri artisti per questo capolavoro.
+Roberto Gerboles tu sei favoloso!!! :))
Grazie di cuore a tutti!!, è stato un bel lavoro!! Grazie!!
+Roberto Gerboles Grande, complimenti!
Roberto Gerboles - bravissimi!
Un'edizione bellissima, di riferimento, bravi tutti e in particolare il Maestro Diego Fasolis
Sapevamo tutti che La Serva Padrona era un capolavoro. Con Fasolis e gli altri protagonisti di questa meravigliosa rappresentazione abbiamo capito perché!
Furio.... mamma mia che voce!!! Una voce chiara e limpida da baritono, morbida.... e poi nel
registro medio grave e in quello grave imbrunisce naturalmente... con dei gravi degni di un basso.
Bellissimo timbro, fantastico!!!!! =)
Mi piace che come nel sottofondo di ogni scena c’è tafano che mangia la ciabatta con mortadella
A M A Z I N G PE R F E C T .. I JUST FALL IN LOVE WITH THOSE VOICES
This opera hit the Paris of Rameau like a thunderbolt, touching off a debate that lasted for decades. (1) It was short. (2) it was genuinely funny. (3) and most important, all the characters were ordinary people. No Greek or Roman gods, no legendary heroes, etc.
He is a baritone and can sing as a basso buffo... simply fantastic!!!
Sonya est fantastique, comme toujours... brillante, charmante, avec un timbre absolument délicieux.
Cantanti e orchestra meravigliosi, direzione e regia eccellenti!
Che bella la voce di baritono. Bravissimo
Can't believe I've never heard this opera before - it's great!!
It's one of the absolutely greatest jewels of the Neapolitan School. And Yoncheva is delightful here, in her real Fach.
@@novagerio9244 sues. A gem she is. ❤️
Esecuzione eccellente da ogni punto di vista.Fasolis ha saputo imprimere il suo marchio,assecondato dai due superbi interpreti.
Bella l'impronta della radiotelevisione svizzera! Desumibile in ogni secondo di questo video! Bello!
I met Sonya Yoncheva, many years ago, thank this performance. I fell in loving with her voice and I and I knew she was destined to be a great star. So it was
Musique sublime, orchestre et chanteurs fantastiques et mise en scène pétillante d'inventivité ... quel spectacle !!!!
Formidables musiciens et belle production !!! Bravo......
Realizzazione scenica di gran classe del celebre Intermezzo di Pergolesi. Non si potrà mai dire abbastanza bene di questa proposta di patcucciola !!
13:03 serpina aria stizzoso
Musica extraordinária. Bela e soberba Serpina. Ai se Pergolesi não tivesse abandonado tão cedo o mundo dos vivos ...
stab matter... algo assim... é de pergolesi?
Geniale!!!! Sono molto felice di ascoltare questa versione!!!! È il teatro vero e il canto bellissimo!! Grazie!
Lovely, just lovely. An absolutely perfect jewel of an opera.
It was well known that the Serva Padrona by Pergolesi is a masterpiece. With the Fasolis and coworkers interpretation we understand why!
13:00 Beautiful Sonya Yoncheva sings with the most alluring expressions. Lovely acting! She’s such doll! ❤️💔🎶💔
At 22:13 I’m hooked…Poor Uberto’s a bit slow, because I think I’d take less convincing to do what she says! lol
26:39 Serpina’s expression is priceless, as she works her delightful feminine charms’
38:54 At last! 39:10 Such darling theatrics and 39:20 wily expressions!
39:43 delightful Baroque passage
Furio Zamasi an excellent Umberto.
Love the closing duet!
Don’t you think the two extras were more of a distraction?
Just a thought.
Tout le monde est magnifique! Surtout elle! Bravissima Serpina!
The woman who plays the violin on the back ground has a a low-cut evening dress in this shot 39:45 but then at 39:56 she is wearing a a dress with long sleeves. How is it possible? I thought this was a live performance on theatre!
Lmao
c'est un film pas du in live cela n'enlève rien au spectacle formidable
I don't see any difference between those two shots 🤔
@@aaronhilliker7566 You should pay more attention then.
@@TheLOVEELINA At a first sight, you shouldn't have thought so.
Grazie mille per questa stupenda interpretazione !!!! Meraviglioso!
Je redécouvre cette oeuvre grâce à cette superbe interprétation. Merci
This opera must have taken the spotlight from whatever it was used as an intermezzo for. That ending, oh my god.
Minunata lucrare muzicala , superba interpretarea ...Felicitari .
I loved Sempre en contrasti! Such a well improvised version of the aria. Lots of movement and character.
Bravoo!! genial interpretacion de todos!! fabulosas voces y actuaciones.. felicitaciones!
Splendore! Grazie! 👏👏👏👏👏
5:33 - 6:49 - 7:36
sonya yoncheva......stunning!!!!
Troppo bella la parte di stizzoso mio stizzoso
Sonya Yoncheva made me believe this opera buffa
was for adults, not for children. She's Magic.
e i musicisti. Musica pulitissima, vivace e spiritosa
Bellissimo, grazie Patcucciola !
il Fasolone è il migliore!! io e la mia lasse abbiamo anche creato una fan page in suo onore su facebook dopo aver visto questo suo stupendo lavoro. complimenti al nostro grande direttore!!!
Whats the page
Brilliant, charming! Excellent singers, excellent musicians!
I can't speak Italian, and it's still funny!
That's the magic of Opera Buffa. :-)
Exceptionala reprezentatie !Merci beaucoup !
Genio italiano ❤❤❤❤❤❤
Grazie a patcucciola, splendida musica e splendia interpretazione !
Sonya Yoncheva is quite the looker as well as an excellent singer!
Stupendi tutti!
Both have great voices
Me ancantaría ser música y estar en la orquesta tocando esta maravillosa obra, debe ser un agrado.
🎹🎼🎵🎵🎵si si lo es y lo se por que soy cantante :-)
Graiela,qué bueno recibir tu comentario. Hace muchos años fui cantante y conocí esta obra maravillosa. Soy de Chile, ¿de dónde eres tú?
+Cristina Fuentes Ecuador
che meraviglia!!! 💗
Meraviglioso!
Great composing by Giovan Battista Pergolesi
오페라 부파의 레치타티보는 매우빠르고 수다스럽기 때문에 노래라기보다 말에 가까운. 혼자 연주하는 레치타티보다 두 사람이 대사하는 형태로 연주되는 중창이 대부분. 최초의 오페라 부파 마님이된 하녀 (평범한 사람들의 일상적인 이야기를 재미나게 풀어냄)
31:52 아리아
13:20
Her facial expressions are like heroin to me.
Meraviglioso
...el inmenso talento del maestro Pergolesi que supo dejarnos tantas maravillosas obras a pesar de su corta existencia
bravo ragazzi. voci fantastiche! fasolis e sonya yoncheva on top. danke an rsi: für solche produktionen bezahle ich gerne den billag-obulus nach lugano
che bella edizione :-)
Io sono bella, graziosa, spiritosa. When it comes the relations between men and women, it is somehow gratifying to know that they knew everything there was to know around 1730. Nothing has been added since then. Leo Depuydt
Yes, and how much more delightful it is to learn that what they knew, was confirmed by classical sources.
@@satyricusm True.
ASPETTARE E NON VENIRE: 2:34
STIZZOSO, MIO STIZZOSO: 13:02
Bravissimi, voci splendide!
Pergolesi urodził się 4 stycznia, tak jak ja :D
Bardzo fajne wykonanie :)
bravissimi!!!!!!!!!!!!!!
Bravi, bravi arci bravi!
WOW, thank you for uploading! Amazing production!
thank you,so beautiful and witty!
Maravilosa obra, la adoro
ammazza quanto è bòna la Yoncheva!!
Condivido... ma l'ho vista prima io!!!! :)
Hahaha
In questo duetto é sensualissima.
Spoiler: si (intra)vedono le tette! :P
ruclips.net/video/oADm9_KUc1I/видео.html
@@FreeSilio beh, Poppea... :D
Bona da morire❤️🔥
What is the title of the opera?
Who is the composer?
What is the style of the opera(opera seria/opera buffa)?why?
What is the opera all about? (give a short storyline)
Tang inang module
Module😭✊
SAGUTIN NYO NA😭
fleece langss
𝑘𝑎𝑙𝑎 𝑘𝑜 𝑚𝑎𝑦 𝑠𝑢𝑚𝑎𝑔𝑜𝑡 𝑛𝑎 𝑛𝑜𝑒 𝑤𝑎𝑙𝑎 𝑝𝑎 𝑝𝑎𝑙𝑎
Does anyone know the source of the postlude sung by the two servants? Ah, I have answered my own question! It is a variant version of the finale, also by Pergolesi, but much more in the mode. An interesting solution to give it to the servants, even though we have to put up with far too many of their antics in the show itself.
Great production, TY for sharing.
Uberto Aria
02:36-04:16
07:53-11:28
31:54-36:03
What an utter delight! Many thanks.
Beautiful production!
One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V to my RUclips posting. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections.
ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC:
AN ESSAY (PART IIIa)
_by_ Leo Depuydt
_To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_
APPENDIX: SUPPORTING MATERIALS
APPENDIX, SECTION Ia: Historical Notes on the Appreciation of Pergolesi’s Music
It needs to be said-and it needs to be repeated-about the composer Giovanni Battista Pergolesi (1710-1736): _Pergolesi rappresenta quello che è veramente importante in Italia: Eccellenza in nome dell’eccellenza._
Style is everything, _dixit_ G.-L. Leclerc (1707-1783), Comte de Buffon, who actually said, “The style is the man (_Le style c’est l’homme même_)”. In that regard, G. B. Pergolesi (1710-1736) is a true inspiration.
The celebrated traveler, author, and musician Ch. Burney (1726-1814), father of the novelist Fanny Burney, described G. B. Pergolesi’s music not only as singularly clear (_chiaro_), simple (_semplice_), and true (_vero_), but also as sweet (_dolce_) [1].
In this connection, the Belgian composer A. E. M. Grétry (1741-1813), who won great acclaim at theaters and the royal court in France, who wrote the music for Voltaire’s funeral, and whose body is buried at the famed Père Lachaise cemetery in Paris while his heart rests in a shrine below a statue of him towering in front of the Royal Opera of Wallonia in his native Liège in Belgium, famously stated the following about G. B. Pergolesi in his Memoirs [2]:
_Pergolesi was born and the truth was known (Pergolèze naquit et la vérité fut connue)._
G. Radiciotti fittingly put this statement on the title page of the first edition of his biography of G. B. Pergolesi [3]. A street is named after A. E. M. Grétry in the center of Brussels, Belgium. And a restaurant in this street even bears the name of his memoirs.
G. B. Pergolesi’s most ardent admirer, A. E. M. Grétry, seems to have suffered a fate even worse than the subject of his admiration. One just wonders how many patrons of the afore-mentioned restaurant “The Memoirs of Grétry” in the Grétry Street in Brussels know who A. E. M. Grétry was.
A remarkable property characterizes the personality and the work of G. B. Pergolesi. After a long interlude of oblivion, his star has been-relatively speaking-sharply on the rise in the last 30 to 40 years or so, accelerating rapidly especially in the 1980s and 1990s, most of the acceleration occurring after my undergraduate years and much of it even after my graduate work. This means that, when I was a student, there would have been little incentive to recognize G. B. Pergolesi as a prime paragon of Western civilization. And in fact, my own interest in his personality and his work has been the result of chance encounters in recent years. I happened to hear his incomparable _Stabat mater_ a few years ago just by accident. Very nice. But I assumed that he was a “one-trick-donkey” who had died young. Little did I know until about two years ago.
There has been a flurry of activity roughly in recent decades, accelerating in the 1980s and the 1990s. This activity includes world premiers in modern times of many musical works including his seemingly forgotten operas, conferences devoted to him, a new series entitled “Pergolesi Studies/Studi Pergolesiani”, research centers founded in New York and Milan, and a guide to research [4], to which I refer for more detail. B. S. Brook, F. Degrada, H. Hucke, D.E. Monson, M. E. Paymer, C. Toscani, and others have been at the forefront of the revival of Pergolesi scholarship.
It may be noted in the margin that the music by A. E. M. Grétry has also made something of a comeback. And, in general, period interpretations of baroque works have been on the rise. For half of my life, the second Brandenburg concert was almost never played on natural baroque trumpets. Now, using a natural trumpet is _de rigueur_.
It will be useful to buttress what has been said before, first, by detailing G. B. Pergolesi’s style a little more and second by showing that the revival of his music is not a fluke in the sense that-while there have been his detractors, some ardent-many others have considered his music unsurpassed and some even unparalleled.
Four observations on style. First, “natural” is a property that I should have added to the characteristics of G. B. Pergolesi’s style already mentioned above and also elsewhere. According to A. E. M. Grétry [5],
_the truth of declamation constituting [G. B. Pergolesi’s] songs is as indestructible as nature (la vérité de déclamation qui constitue ses chants, est indestructible comme la nature_).
Second, G. B. Pergolesi is in my opinion on quite a few occasions just ever so subtly mischievous (_birichino_ in Italian?) in a way that I only rarely discern in the music of other composers. It seems to mean that he does not take himself too seriously. And that is good to know.
Third, citing an eyewitness account gathered in the course of his travels in Italy, Ch. Burney describes G. B. Pergolesi as a “slow composer” [6]. His biographer G. Radiciotti interprets Ch. Burney as stating that the composer was “an accurate worker using a file ([_un_] _lavoratore accurato e di lima_)” [7]. This seems like a mistranslation improving on the original.
But the fourth characteristic has been the most inspiring, to me at least. It is the way in which G. B. Pergolesi’s lines of melody (supported by an accompaniment that never takes control but impeccably does all it possibly can to enhance the melodic line) run from the very beginning to the very end without a single note being out of place, and all this with-at almost every turn-plenty of originality and unexpected and interesting twists that surprise but never either disrupt the line or displease. Originality by itself could be classified as yet a fifth characteristic.
G. B. Pergolesi’s melodic lines stand as a metaphor of how one would like an intellectual argument to proceed. Again, style is everything. D. Monson has established that the composer “wrote the music for the vocal line before writing the bass and accompaniment” [8]. In the same way, the stepwise rigorous intellectual coherence of the main line of an intellectual argument is paramount.
(_Continued in Part IIIb._)
bravi tutti!
Operetta in 2 atti svolgesi Bologna. Ved i in metà settecento.eleganntissima lingua,stile e sintassi ma nes❤suna pretesa.nenmeno du riempmissionesull portafoglio
Excuse my ignorance, but does anyone know where I can find this with English subtitles?
...en.wikisource.org/wiki/La_Serva_Padrona This is the best I found
Bielorussia yies u can fin dis in france fur 36722662637373737377pooounds
One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V to my RUclips posting. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections.
ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC:
AN ESSAY (PART II)
_by_ Leo Depuydt
_To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_
(_Continuation of the main text in Part I._)
First are the six features that set apart Pergolesi from his teacher Durante according to Pergolesi, as follows:
1) _L’allievo Pergolese_ [Correction!: Pergolesi always signed his name “Pergolesi”] _all’opposto era pieno di estro e vivacità;_
2) _accoppiava insieme lo stilo forte ed armonioso ne’_ repieni _delle voci_
3) _con un_ accompagnamento _instrumentale_ [sic]_, che sempre cantava;_
4) _mosse naturali dei bassi per lo più_ camminanti _, che anch’essi cantavano;_
5) _un passeggiar di tuoni semplice e regolare, ma sempre rintracciando nuovi sentieri;_
6) _e quindi se qualche volta mostravasi lungo anzi che no, pure non attediava._
de Rosa’s description continues with features that first (_primo_) manifested themselves in Pergolesi’s music in his opinion, as follows:
7)_Egli si fu il primo, cui venne in pensiero vestire qualche_ Aria _di un accompagnamento_ instrumentale _diverso dalla_ cantilena _dell’attore,_
8)_egli il primo che tra i due violini intrecciasse due motivi diversi;_
9)_egli il primo che pose in campo il_ semitonare _cantando;_
10)_in somma egli il primo che spogliasse la_ cantilena _delle_ ariette _dal difficile e secco dello Scarlatti, e cercasse, per quanto fosse possibile, adattarla alla passione, che destar dovevano le parole, onde coll’espressione del cantante si commovesse il cuore di chi ascoltava. Dotato dalla natura di un cuore sensibilissimo, non iscrisse un verso di musica, che non corrispondesse alle parole, che volle animar con forza e finezza, consultando sempre la natura, e la verità, …._
I classify the rest of this sentence as an eleventh characteristic:
11) _... senza far uso di quelle fragorose modulazioni, che simili alle fugitive meteore, abbagliano talvolta gl’ignoranti, ma che tosto svaniscono e nel nulla restan sepolte._
A more detailed discussion of this unparalleled characterization of Pergolesi’s music is desirable. The need is for illustrating each with concrete musical examples. The examples are very much present to me. But I do not know exactly as to how to present it. The fact remains that there is nothing like Pergolesi’s music anywhere.
Meanwhile, here is a provisional English translation of de Rosa’s epochal text (now completely forgotten, I again note):
“(1) His (Durante’s) student Pergolesi was, by contrast, full of whim (¬_estro_) and vivacity, (2) which he combined with his (Durante’s own) strong and harmonious style of voices singing all together [that is, in _¬tutti_], (3) and also with instrumental accompaniments that always sing, (4) as well as with natural movements by the basses that almost always march on while also singing, (5) and moreover with a progression of notes that is simple and regular while always tracing new paths. (6) And so when he (Pergolesi) sometimes expressed himself at greater length (‘rather longer than shorter’), he never caused boredom”.
(On to the features that the Marquese believed Pergolesi to be the first to exhibit in the history of music.)
“He was (1) the first who came up with the idea of adorning an aria with an instrumental accompaniment that differed from the melody of the actor, (2) the first who made the two violin parts intertwine two different motives, (3) the first to put into the field the singing halftone, (4) in sum the first who stripped the sing-song of the arias from the difficult and dry properties of Scarlatti’s arias and sought as much as possible to adapt it to the passion that the words are designed to excite so that the heart of the listener moved along with the expression of the singer. Gifted with the nature of a most sensible heart, he never wrote a verse of music that did not correspond to the words, which he wished to animate with strength and finesse, always consulting with nature and truth,”
(and classifying the following property separately)
“without using the deafening modulations that, like fleeting meteors, at times dazzle the ignoramuses but before long vanish and remain buried in nothingness”.
I hope to discuss these characteristics in detail at a later time. I am not sure about how to convey musical examples.
Brazil here 🇧🇷🇧🇷🇧🇷
In questa interpretazione manca il duetto "Per te io ho nel core". E' presente solo il duetto della versione originale "Contento tu sarai". Bella interpretazione. Grazie
è dopo i titoli di coda.
Il duetto "Per te io ho nel core" e' stato scritto nel 1735 da Pergolesi per l' opera Il Flaminio ed era usanza che durante tutto il 1700 venisse eseguito al posto di "Contento tu sarai" che siamo solitamente abituati ad ascoltare a conclusione di questo intermezzo buffo dell' opera Il prigionier superbo sempre su libretto del Federico.
Un grande plauso anche al misconosciuto librettista Gennaro Antonio Federico;
quanta freschezza, quanta grazia, quanta arguzia !!!
I need that
Ha ha! Ce mu - tra îm- buf - na - ta
Formidable !!
2:35 Act 1
I didn't know Voldemort was a conductor too
lmao, i'm listening to these songs bc i need to recognize them in a test and this comment made my day 😂
;) hahahahahhaahahhaha
update i got 8.5
lmao
Ci nasconde tante cose quel pelato
First Pergolesi opera I've seen - now I'm add
icted !!
Скажите а что за театр?
la musique avec classe et tenue
15:21
2:34
Who's is the composer of this opera buffa
Giovan BBattista Pergolesi
What is the title?
Who is the composer?
What is the style of opera?
Storyline?
"serva padrona" 2.Giovan Battista Pergolesi 3.Opera buffa, it's an intermezzo 4. Serpina wants to marry Uberto so Vespone (the mute) pretend to marry Serpina, so Uberto ask Serpina to marry him not Vespone
@@ushgreta440 tysm po isa kang anghel nahulog sa sky🤞✨
11:27 recitativo "stizzoso"
Perché le arie sono in playback e I recitativi no?
31:54
AMAZING!!!!!!