N. Porpora: «Semiramide riconosciuta»
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- Опубликовано: 29 сен 2024
- Nicola PORPORA 1686-1768
"Semiramide riconosciuta" [1st version]
Dramma per musica in 3 acts
Teatro San Giovanni Grisostomo, Venice 1728
Libretto: Pietro Metastasio
SEMIRAMIDE - Delphine Galou [contralto]
MIRTEO - Teodora Gheorghiu [soprano]
IRCANO - Juan Sancho [tenor]
SCITALCE - Blandine Staskiewicz [mezzo-soprano]
SIBARI - Mary-Ellen Nesi [mezzo-soprano]
TAMIRI - Maria Grazia Schiavo [soprano]
ACCADEMIA BIZANTINA
Stefano Montanari [direction]
Des airs chantés admirables.
Des mezzos et contrealtes remarquables.
Toute la portance discrète de l'orchestre.
Le style galant ressuscité, une rêverie sublime.
L'immensité incroyable de l'opéra napolitain, un des plus grands du monde.
Las arias de esta ópera:
0:14:34 Non sò se più t'accendi (Semiramide)
0:19:24 Vorrei spiegar l'affanno (Tamiri)
0:28:19 Che quel cor (Tamiri)
0:34:51 Maggior folia (Ircano)
0:39:45 Bel piacer (Mirteo)
0:49:30 Come all'amiche arene (Sibari)
0:59:40 Se intende si poco (Scitalce)
1:03:43 Voi no sapete quanto (Semiramide)
1:13:01 Pena d'aver
1:20:36 Tu mi disprezzi (Tamiri)
1:28:27 Saper bramate (Ircano)
1:31:36 Il pastor se torn' Aprile (Sibari)
1:47:33 Fiumi cel (Mirteo)
1:53:40 Non sò se sdegno sia (Tamiri)
2:02:50 Tradita sprezzata (Semiramide)
2:08:33 Il ciel mi vuol oppresso (Ircano)
2:15:23 In braccio mille furie
2:19:23 Quando un fallo è strada (Sibari)
2:24:02 Fuggi dagl' occhi miei (Semiramide)
2:29:13
0:19:24 Vorrei spiegar l'affanno *(Scitalce)*
1:13:01 *Spera goder vicino (Sibari)*
1:31:36 Il pastor se torna aprile *(Semiramide)*
1:39:09 *Vieni che poi sereno (Sibari)*
1:47:33 *Fiumicel, che s'ode a pena* (Mirteo)
2:15:23 In braccio mille furie *(Mirteo)*
2:29:13 *Vuoi dirmi, lo so (Tamiri* - Maria Hinojosa Montenegro, _who sang in this_
_performance instead of Maria Grazia Schiavo_ )
2:35:33 *Sentirsi dire da caro bene (Mirteo)*
There is actually a video of a live performance of this opera from the beautiful theatre in Bibbiena,Italy on RUclips -the costumesare sensational!
In braccio a mille furie - Mirteo's Aria ( Farinelli !!!! ) 2:15:23
thank you dude🥰
@@james70718 sure😘
Teodora Gheorghiu
Эта запись великолепна, буду искать оперу в ютубе
On the basis of the libretti, this is mainly the Naples 1739 revision (eg alto Semiramide, tenor Ircano with his extra arias & Mirteo's new arias) with some of the 1729 Venice original eg Mirteo's In braccio a mille furie. Of course, it may be that elements of 1739 have been imported into the earlier.
On YUMPU you can find the libretto of this concert (8. July 2011 in Beaune)
2:24:02
Fuggi dagl’occhi miei,
perfido, ingannator.
Ricordati che sei,
che fosti un traditor,
ch’io vivo ancora.
Misera, a chi serbai
amore, fedeltà?
a un barbaro che mai
non dimostrò pietà,
che vuol ch’io mora
L'interpretazione vocale mi entusiasma ben poco Provo ad abbozzare un pensiero critico/...tono acre non fluido ed acuti ad effetto sonoro soltanto../😮😊ciao S42
Quelques arias : 14.34.... 19.23....39.44...1.13.02....1.20.36....1.31.35(il pastor)...2.02.50...2.24.03....Merci pour ce partage.
A wonderful Porpora aria 2:24:02 in the key (matrix) Antonio Vivaldi - "Dorilla in Tempe" 1726. (Aria: Fidi amanti al vostro amore end &)
15:35
A dream come true. Amazing to listen for long flight
Brividini! Accademia Bizantina sensibile e presentissima con grazia accompagna voci calde ed espressive. Quest’opera è l’ultima scoperta nelle quali mi sono imbattuta da quando voglio recuperare il tempo…perduto. 😊 Stessa opera rappresentata al Teatro di Bibbiena, incanto!
Merci
Fabuleux opera 👍
What is the name or author of that amazing image? It complements the music fantastically!!
Ferdinando Galli Bibiena, Stage Setting with Ballet
Very nice to hear a recording of this opera. But why, oh why, is Scene V of the Second Act omitted? The one which contains the amazing “Si pietoso il tuo labro ragiona” aria?
Probably because this is a different version of the opera from that in which "Si pietoso..." appears.
"Passaggier, che su la sponda" (last aria of the second act) is missing too. But Franco Fagioli did it with Riccardo Minasi (IL POMO D'ORO)
Bellissima 49:30 59:40 2:02:49 2:24:02
49:30 Come all’amiche arene (Mary-Ellen Nesi)
59:40 Se intende sì poco (Blandine Staskiewicz)
2:02:49 Tradita, sprezzata (Delphine Galou)
2:24:02 Fuggi dagl’occhi miei (Delphine Galou)
@@freiermensch6569 Thank you! 2:24:02 Fuggi dagl’occhi miei (Delphine Galou)
Non ti celare Ispirazione Barocca! Sei sempre la più grande anche in Dramma
Sia solo un paragrafo, dedicato alle opere più lunghe. Grazie, comunque!
Dramma per musica una curiosità : ma sei donna/ragazza?
C'è il accenno su Ispirazione, [con la link su fb] di chi sono :-)
Dramma per musica ti seguo da tanti anni e ho sempre immaginato che tu fossi donna XD. Riesci sempre a cercare dipinti magnifici per i tuoi video. Che trucco usi?
Não tem como ter as divisões de andamentos?
Sem palavras! Porpora - Lindo demais!!! 👏🏼👏🏼👏🏼🎵🎶
Very nice
😍😍😍😍😍😍😍😍😍😍😍😍😍😍
49:30
Come all’amiche arene (Mary-Ellen Nesi)
1:47:31
Ircano makes me laugh my ass off 😂
PORPORA SUPERIOR TO HAENDEL, writes Romain Rolland, Noble Prize in Literature (1915) and eminent French music historian (including of opera), first chair of music history at the Sorbonne. Wow!
(From Radiciotti’s 1910 biography of Pergolesi, p. 18 n. 1, Rolland writing in French to Radiciotti, use Google Translate if needed [however, see below])
“Depuis deux ans, j’étudie Haendel et son temps; et j’ai ainsi vécu avec quelques-uns de ses grands rivaux Italiens ou italianisants. J’ai été pénétré par la beauté et même par la puissance expressive de certains d’entre eux qui sont fort injustement appréciés aujourd’hui. Quand Porpora, par exemple, se trouva aux prises avec Haendel, et qu’ils mirent en même temps le mêmes sujets d’opéra en musique, j’ai constaté, à mon grand étonnement, la supériorité de Porpora, même au point de vue de la largeur du style et de la force dramatique . . .”
Radiciotti goes on how mainly German critics massacred Porpora and Italian opera in general. A bloodbath really. I took until 1945 to finally tame the Germans.
Leo Depuydt
PS I am sitting here thinking: When are these Italians going to do something about it? Come on, Giovanni, come on, Nicoletta, come on, Pietro, come on, Euphemia, . . . Get off your lazy butt and get moving!
PPS OK, I checked the Google translation. It is not fully perfect. Here is an updated version.
“For two years, I have been studying Handel and his time; and thus I lived with some of his great Italian and Italianizing rivals. I was struck by the beauty and even by the expressive power of some of them. They are very unjustly underappreciated today. When Porpora, for example, found himself at grips with Handel, and they at the same time put the very same opera subjects in music, I observed, to my great astonishment, the superiority of Porpora, even from the point of view of breadth of style and dramatic force. . . ”
Nobel Prize in literature? Preeminent authority on the history of opera? First chair of music history at the Sorbonne. Are you trying to tell me that Rolland lost his mind? Here is where we are: Handel the superstar with billions of RUclips videos; Porpora, his superior (says Rolland), completely forgotten. There is something really rotten about the history of Western music.
Well... For the record, everything about the western world is rotten. Firstly, they write history the way they see fit... To favour them obviously. And secondly their hands are all dirty with the blood of their superiors and competitors. Typical western world. It's a shame that they couldn't even procure any decency to keep their foul spirits away from something as sacred as the celestial music great Italian composers like Nicola Porpora wrote. Porpora's style of writing is way different. Even the great Handel sampled him at some point in his music career. Go listen to Sussurate onde vezzosse Act 2 scene one of Amadigi do Gaulo. You'd understand better. I'll rest my case here.
@Leo Depuydt If you want to "hide" behind "authority" Romain Rolland; then I can "hide" behind the authority of Mozart, Haydn, Schubert, Beethoven ... who all claimed that "Handley was the greatest composer ever".
Only now read this. Can't keep up. I used authority mainly to make a dent in the now accepted view of the history of Western music that Porpora was a nobody and Handel was God. Not so! Not so! I share Rolland's opinion. I am not criticizing Handel's music in any way. But I was recently comparing Handel's version of Rinaldo (which is really Italian music; Lascia ch'io pianga is Italian) and the version mainly compiled by Leonardo Leo. I personally like Leo's a lot better, especially the arias that he added.
Mozart, Haydn, Schubert, Beethoven: all German/Austrians. Rolland: French, not Italian. it can be documented in great detail how German critics obliterated the Neapolitan tradition, beginning 1770/1780, nobody reads it or knows about it anymore,. But there is tons of it, all forgotten. To use your image of "hiding", you cannot hide behind yourself. You need to hide behind something else to hide effectively. Mozart called all Italian composers "charlatans." Haydn learned everything he knew from Porpora. Beethoven tried to write the Italian way, but could not. So he went loud instead. And praised a choice fellow German as divine. One Fritz supporting another Fritz. And then there is Handel, trained to the teeth in Italy. And just compare his Italian Rinaldo (1711) with Leonardo Leo's reworking (1717). Here I realize that it could get subjective but I like the 1717 a lot better. Handel could have benefited from staying a little longer in Italy especially into the 1720s and the 1730s. Much to the credit of the musicological tradition, eminent German music historians around 1900 felt bad about killing off the Neapolitan. And they wanted to do something about it. Can all be documented with literal quotes.
@@lordcephasbeats Thanks for making your case. We'll win this. It may take a while. But it is coming. Rest assured.
💖💖💖💖
@Leo Depuydt If you want to "hide" behind "authority" Romain Rolland; then I can "hide" behind the authority of Mozart, Haydn, Schubert, Beethoven ... who all claimed that "Handley was the greatest composer ever".
Nice❤️😘
14:34
49:30
2:24:02
14:34 Non so se piu t’accendi (Delphine Galou)
49:30 Come all’amiche arene (Mary-Ellen Nesi)
2:24:02 Fuggi dagl’occhi miei (Delphine Galou)