Francisco António De Almeida: Il Trionfo d’Amore (The Triumph of Love / Triunfo do Amor) | 1729
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- Опубликовано: 31 май 2024
- Composed by: Francisco António De Almeida (c.1702- c.1755)
Serenata: Il Trionfo d’Amore
Score: An autograph score, library of Vila Viçosa’s Ducal Palace
First performed: Ribeira Palace, Portugal 1729
Part One:
01 00:00:00 Introduction: Allegro
02 00:03:00 Introduction: Andante
03 00:07:09 Introduction: Allegro staccato
04 00:08:50 Coro: Numi eccelsi, in sì bel giorno
05 00:10:18 Recitativo: Si sospendan le vittime e gl’incensi (Termosia)
06 00:11:07 Aria: Bel piacer è la vendetta (Termosia)
07 00:15:21 Recitativo: Da qual insania trasportato, Arsindo (Mirenio)
08 00:16:01 Aria: Si cinga il perfido con nodi orribili (Mirenio)
09 00:20:33 Recitativo: Padre e signor (Adraste, Mirenio, Giano, Nerina)
10 00:21:32 Aria: A smorza runa favilla (Giano)
11 00:29:14 Recitativo: Nerina, dirò mia (Arsindo, Nerina)
12 00:29:48 Aria: Pallidetta rosa e smorta (Nerina)
13 00:37:24 Recitativo: O dolcissime voci (Arsindo)
14 00:37:50 Aria: Se bene il gelo indura l’onda (Arsindo)
15 00:41:19 Recitativo: Per lo strano accidente (Adraste, Termosia)
16 00:41:48 Aria: Da due venti combattuto arboscel (Adraste)
17 00:48:34 Recitativo: Drizzate ormai gli altari per l’uman sacrificio (Mirenio, Nerina, Arsindo)
18 00:49:23 Duetto: Se m’abbandoni, dolce mia speme (Arsindo, Nerina)
Part Two:
19 00:57:08 Recitativo: Bendate a Arsindo i lumi, ministri (Mirenio, Arsindo)
20 00:57:50 Aria: Ove mi conducesti, perfido ingrato amore (Arsindo)
21 01:02:16 Recitativo: Non accusare amore (Adraste, Arsindo, Giano, Nerina)
22 01:03:10 Recitativo: Divinità del cielo (Nerina)
23 01:04:06 Recitativo: Forsennata, ove corri? (Giano, Nerina)
24 01:05:15 Recitativo: Oh sfortunati amanti (Mirenio, Adraste, Termosia, Arsindo, Giano)
25 01:05:26 Aria: Orride e dispietate Furie (Giano)
26 01:10:00 Recitativo: Mi muore in sen la speme (Termosia, Adraste)
27 01:12:20 Aria: Leggiadra ninfa (Termosia)
28 01:19:28 Recitativo: Amabile Nerina, la tua pietà mi pesa (Arsindo, Nerina)
29 01:20:00 Aria: In queste lacrime, Arsindo, specchiati (Nerina)
30 01:27:57 Recitativo: Bella Termosia (Adraste, Termosia)
31 01:28:36 Duetto: Ecco bell’idol mio (Termosia, Adraste)
32 01:35:58 Recitativo: Ma di quale divino e profetico lume (Mirenio, Adraste, Giano, Termosia)
33 01:37:21 Aria: Se la mente offusca e ingombra (Mirenio)
34 01:42:28 Recitativo: Eterni numi, oh quanto sono diversi dagli umani disegni (Giano, Arsindo)
35 01:43:00 Duetto: Dopo lacrime tante (Nerina, Arsindo)
36 01:43:43 Recitativo: Ma perché sia perfetto (Mirenio, Adraste)
37 01:44:34 Aria: All’alto trono del Dio di Gnido (Adraste)
38 01:50:06 Recitativo: Quel siano de’ ciel l’alti decreti (Mirenio)
39 01:50:36 Coro: A te la gloria, a te il trionfo
The serenata for six voices, Il Trionfo d’Amore, scherzo pastorale, was first performed in Lisbon at the Ribeira Palace on 27 Dec, 1729 - the feast of St John the Baptist. During the reign of King João V the celebrations of his birthday, on 22 October, were complemented by those of his name-days, on Jun 24 (St John) and Dec 27 (St John the Baptist). As is made explicit in the title, the plot is an apology of Love. The wedding arrangements between Adraste and Nerina, following the gods’ designs, turn out to be thwarted by a greater force, the unbounded passion of Nerina and Arsindo.
De Almeida, proves to be an imaginative composer allowing him to find the most varied and elegant solutions for soloists and orchestra. In a typical baroque structure, recitatives precede the twelve da capo arias and two duets. Following the initial Sinfonia, this two-part work ends in the same way it started with a choir exalting Love .
Performed by:
Nerina, betrothed to Adraste, in love with Arsindo .................. Ana Quintans, Soprano
Arsindo, Nerina’s secret lover ............................................ Carlos Mena, Counter-tenor
Termosia, in love with Arsindo ..................................................... Joana Seara, Soprano
Adraste, betrothed to Nerina .............................................. Fernando Guimarães, Tenor
Giano, chief minister and Nerina’s father ...................... Cátia Moreso, Mezzo-soprano
Mirenio, high priest ...................................................................... João Fernandes, Bass
Chorus of nymphs and shepherds ....................................................... Voces Caelestes
The ensemble: Os Músicos do Tejo (on period instruments)
Violins: Mauro Lopes (concertino), Álvaro Pinto, Denys Stetsenko, Naomi Burrell, Nuno Mendes,
Tera Shimizu, Maria Bonina and Pedro Meireles.
This video marks the world premiere recording of Il Trionfo d’Amore, under the direction of Marcos Magalhães, director of Lisbon-based early music ensemble Os Músicos do Tejo. With the exception of Spanish countertenor Carlos Mena, the entire cast on this wonderfull performance is Portuguese.
Cover art:
Organ in Church of Santa Engracia, Lisbon, Portugal.
#DeAlmeidaRecordare
Спасибо!!! Очень красивая музыка и пение!
¡Magnífico! Gracias por compartir ♥
Fantástico e increíble compositor Portugués.
Bella música; muy bien hecha. Toda una sorpresa.
Wow wow wow !!!
Brilliant - Thank you " Recordare Domine A415". How chance determines our "destinies". If he hadn't died in the earthquake in Lisbon in 1755, who knows what brilliant compositions he would have created. Telemann's oratorio "Donner-ode" TWV 6:3a-b, which he wrote on the occasion of the disastrous earthquake in Lisbon (November 1, 1755), an oratorio for five soloists, choir, three trumpets, timpani, two oboes, bassoon, strings and basso continuo. Text, adaptation from Psalms 8 and 29. Oratorio: God's powers against the destructive forces of nature. In 1753 Antonio Maria Mazzoni (1717 - 1785) went to Lisbon to assist David Perez in composing some works; His two operas were performed in Lisbon in 1755. "La clemenza di Tito"," Antigono" - Antonio Maria Mazzoni survived the earthquake.
In 1752 King José I of Portugal invited David Perez to become mestre de capela and music master. The ambition of the recently crowned Portuguese king was to depart from his father's musical policy, almost uniquely concerned with church music, and to give Italian opera a central position in the court. Equally important were the great singers who appeared at the Portuguese court, including Raaf, Elisi, Manzuoli, Gizziello and Caffarelli. The terrible earthquake that destroyed Lisbon on 1 November 1755, changed forever Perez's output. The Ópera do Tejo was destroyed six months after opening...
Primera vez lo escucho, me parece muy bueno este compositor. Cómo puedo adquirir la grabación?
No way in my country, Cuba
Lovely. Do you know if there are plans to publish the score for artists to perform? I have a few singing students for whom some of this would be perfect -- especially the duets.
Unfortunately, we do not have scores, but if find one, we will certainly send you. All the best from RDa415