Wolfgang Amadeus Mozart - Le nozze di Figaro, K. 492 {Overture, Act I} [With score]
HTML-код
- Опубликовано: 30 июл 2024
- Composer: Wolfgang Amadeus Mozart (27 January 1756 - 5 December 1791)
Libretto: Lorenzo da Ponte
Conductor: René Jacobs
Performers: Simon Keenlyside (Il Conte), Véronique Gens (La Contessa) Patrizia Ciofi (Susanna), Lorenzo Regazzo (Figaro), Angelika Kirchschlager (Cherubino), Marie McLaughlin (Marcellina), Kobie van Rensburg (Basilio & Don Curzio), Antonio Abete (Bartolo & Antonio), Nuria Rial (Barbarina), Elisabeth Rapp & Yeree Suh (Due Ragazze)
Choir: Collegium Vocale Gent
Orchestra: Concerto Köln
Le nozze di Figaro (The Marriage of Figaro), K. 492, opera buffa in 4 acts, written in 1786 {Act 1}
00:00 - xxx. Ouverture
Act I
04:14 - I. Duettino: "Cinque... dieci... venti..."
07:43 - II. Duettino: "Se a caso madama"
13:00 - III. Cavatina: "Se vuol ballare"
16:39 - IV. Aria: "La vendetta, oh, la vendetta"
20:29 - V. Duettino: "Via, resti servita"
24:43 - VI. Aria: "Non so più cosa son"
31:19 - VII. Terzetto: "Cosa sento! tosto andate"
36:28 - VIII. Coro: "Giovani liete"
41:21 - IX. Aria: "Non più andrai"
Lorenzo da Ponte wrote the libretto for Mozart's Figaro after falling out with Antonio Salieri, who, as imperial court composer, had obtained the position of court poet for da Ponte. At the time of the opera's composition and first performances, there was a climate of antagonism among factions of Italian musicians and poets living in Vienna, among whom was counted Salieri. Although the efforts of the anti-Mozart Italian clique did not succeed in having Mozart's Figaro banned from the stage, the opera did receive fewer than ten performances in Vienna immediately after its première at the Burgtheater on May 1, 1786. Figaro would have tremendous success in Prague, however, before spreading to other parts of Europe and becoming a classic of the opera buffa repertory. So began the fortuitous Mozart/da Ponte relationship, from which would come two further masterworks, Don Giovanni (1787) and Così fan tutte (1789-1790).
Mozart admired Pierre Auguste Caron de Beaumarchais' politically radical play Le mariage de Figaro (1781), the second play in what would become a trilogy based on the autobiographical character Figaro. Beaumarchais' Le barbier de Séville had been performed in 1775 and the third play of the trilogy, La mère coupable, would be premièred in 1793. In his Figaro plays, Beaumarchais, who himself was a participant in the Revolution, working towards anti-aristocratic revolutionary ideas, sharply spoofs pre-Revolution French society.
Mozart's music for Figaro consists of conventional dry and accompanied recitative, aria, and ensemble pieces. The overture, despite having no development section, is essentially in sonata form. Mozart musically conveys the range of Figaro's perturbation in his Act One cavatina, "Se vuol ballare," by whimsically changing the character of his music to correspond with Figaro's machinations. Mozart also imbues Figaro's rondo-form aria, "Non più andrai, farfallone amoroso," with colorful musical depictions of Cherubino's forthcoming military service through dotted rhythms and trumpet arpeggio fanfares. The Countess' cavatina, "Porgi amor," conveys the character's elevated social status through its graceful melodic language. The duet ("Aprite, presto, aprite") between Susanna and Cherubino in Act Two bristles expectantly with its moto perpetuo string writing and nervous, patter vocal declamation. In the Count's and Susanna's Act Three duet ("Crudel! Perchè finora"), the minor mode conveys the Count's initial grief and a shift to major mode, after Susanna agrees to come to the garden, confirms a sense of momentary resolution. Later, in the Count's accompanied recitative ("Hai già vinta la causa!"), the orchestra adds an extra emphasis to his verbal expression of anger and agitation through impetuous dotted rhythms and string tremolos. Through furiously rapid-scale passages and trills, the orchestra maintains this angry intensity in the Count's vengeance aria ("Vedrò mentr'io sospiro"). Barbaina's Act Four cavatina, "L'ho perduta...me meschina!" introduces a minor mode melody of classic Mozartean pathos. The finale of Act Four brings the principal characters to beg the Count's forgiveness and the music swells from a pious hymn-like ensemble to a triumphant fanfare-laden exultation.
[allmusic.com] 
Видеоклипы
![Wolfgang Amadeus Mozart - Le nozze di Figaro, K. 492 {Act II} [With score]](http://i.ytimg.com/vi/12IJVZ-hIlk/mqdefault.jpg)
![Wolfgang Amadeus Mozart - Le nozze di Figaro, K. 492 {Act II} [With score]](/img/tr.png)
Aaah! Food for the soul! Written more than 200 years ago, it is one of an infinite number of examples of genius and truly ageless music. Thank you W.A. Mozart
Jamais je n’aurais su vivre sans Mozart il rend le monde plus supportable
My parents had this on an LP way back when I was just in elementary school. I fell in love with it back then, and it's still wonderful to hear. Especially this rendition!
00:00 - Увертюра, ГП, D
00:53 - Увертюра, ПП, А
01:34 - Увертюра, ЗП, А
04:15 - 1 д. 1-й дует Фігаро і Сюзанни.
07:44 - 1 д. 2-й дует Фігаро і Сюзанни.
13:01 - 1 д. Каватина Фігаро.
24:44 - 1 д. Арія Керубіно.
31:20 - 1 д. Терцет Графа, Базиліо і Сюзанни.
41:22 - 1 д. Арія Фігаро.
This is really nice, I love the magic flute you uploaded, thank you so much, waiting for the rest!
Thank you very much for uploading this! Waiting for the other acts :)
11:25 that chord❤❤❤❤
Thank you so much!
The _Se a caso_ duettino is my favorite. Mostly because of the loud, low 'Don-don' in Susanna's part. I'm a big fan of low voices, in fact.
Overture to Mozart's "The Marriage of Figaro", K. 492 "borrowed" from: Giovanni Paisiello "Barber of Seville" 1782.; = André Grétry „L’Amant jaloux“, 1778 Other:Soler:"Martini lo spagnuolo" ("Martini the Spaniard"); in modern times, he has been called "the Valencian Mozart" - historical facts show that it is the other way around - "Mozart is Soler from Vienna". Soler is credited with introducing, in Una cosa rara, the waltz to Vienna; and a melody from the same work is quoted by Mozart in the banquet scene in Act 2 of Don Giovanni (1787). "Il burbero di buon cuore" (The Good-Hearted Curmudgeon) is an opera dramma giocoso in two acts by Vicente Martín y Soler. The Italian libretto by Lorenzo Da Ponte is based on the French comedy Le bourru bienfaisant by Carlo Goldoni. The opera premiered on 4.01.1786 in Vienna at the Burgtheater with a cast that included three well known Viennese singers of the day: Nancy Storace as Angelica, Francesco Benucci as Ferramondo, and Maria Mandini as Marina.The opera premiered in the same year and at the same house as Mozart's Le nozze di Figaro (1.05. 1786.). Mozart tried to "fix" this opera (his style of creation). Similarly Forgotten Giuseppe Gazzaniga ("Don Giovanni Tenorio", (5.02.1787.) - Mozart's "Don Dovani" (29.10.1787.)
29:12
41:22 non piu andrai.
Wolf gang
Plisss Cosi fan Tutte :D
Comicità e drammaticità appena accennate: il classicismo delle "luci romantiche", sempre in tensione.
Hey, I have not been on RUclips for a good while. What happened to "die Zauberflöte" ? Was it deleted?
Working on it!
@@DamonJHK Thank you. I miss it. The one that was deleted was the best version I had ever listened to.
@@nguessanbenie2487 Oh but since that version got blocked on RUclips, I will use a different recording this time, I think
@@DamonJHK Aw dang it. Well, thank you 😊
Are you going to do all of Mozarts operas ?
I am thinking of doing Don Giovanni (not sure yet), do you have an opera you want to see with score?
Can you do Shostacovichs the nose or lady macbeth and mozarts the abduction from the seraglio
@@DamonJHK così fan tutti? Can you do?
@@decodesc7744 Yes, please do Così fan tutte!
@@decodesc7744 Not sure if you are still there, but thr score you asked is up.
Even after having played the violin for 10 years, the Overture is simply way too fast for my slow brain haha.
6:49
Wow tradotto in italiano
Does anyone now where can I find the harpsichord part for this peace ?😊
You can search on imslp
@@sararavelo1996 thank you 😊 👍
You won't, the recitative's accompaniment is being improvised.
34:19
Why do I hear piano at 0:09
Oh never mind it’s probably the harpsichord in the basso continuo
@@indioduran4535 did Mozart use harpsichord?
It shows up in recitativi like 6:57
It's a fortepiano
In what language is this singing ?
Italian
16:40
Le tempo de l'ouverture est vraiment trop rapide ; cela le rend le brutal et paradoxalement les "tutti" deviennent assez lourds ; on est loin de la légèreté mozartienne ; même pour les phrases répétées, ça cogne sans nuance ; le tempo fonctionne assez bien pour les récitatifs de l'acte 1.. Merci de nous proposer cet extrait intéressant.
I think it's a matter of taste. I like the faster tempos very much and although not everything is done as precisely as the Currentzis recording (he chooses even faster tempos here and there), this recording is one of the best for me.
Pour d'obscures raisons je n'avais pu venir voir vos publications depuis un moment. V
Vous êtes sur le chemin de devenir un grand professionnel, bravo!
It would be great if there'd be a video with the vocal score (piano only). Can't stand transposing the stupid horns.
from baby noah animal expedition
Bad orchestra!
The orchestra was made to replicate what music sounded like in the classical era, so it's appropriate.
Bad ears!
I think they did a good job. Very exciting recording.
@@takeuchi5760 agreed
@@unoriginal422 not only appropriate, but accurate, and also very different, but incredibly beautiful, especially the differences in the dinamics.
7:13
24:42
31:19
41:22