Georg Philipp Telemann – Paris Quartets Nr.1-6


Georg Philipp Telemann – Pariser Quartette Nr.1-6

About the Work:

Six quartets for flute and continuo were composed by Telemann [1681-1767] as early as 1730 in Germany and achieved enough success to be “pirated” and printed in 1736, without his knowledge, by the unscrupulous French publisher Le Clerk. Undaunted, the increasingly popular Telemann “refurbished” the works during a brief sojourn in Paris in 1738, re-titled them the “Nouveaux quatuors en six suites a une flute traaversiere, un violon, une basse de viole ou violoncelle et basse,” vastly more impressive, and proceeded to publish them himself. The impetus to improve his lot obviously forced the composer to stretch the boundaries of his creative abilities, as well. The six “Paris Quartets,” as they have been nicknamed, are pinnacles not only of Telemann’s oeuvre, but also of the entire Baroque chamber repertoire.
The bi-centennial anniversary in 1967 of Telemann’s death, launched by record companies such as Telefunken and Nonesuch, sparked an incredibly overdue renaissance of the composer’s neglected output. Music heretofore unheard came before an omnivorous classical public, of which I was one. And such music! Grand productions (Tafelmusik, Water Music, Overtures), glorious concertos for almost every instrumental combination, and a vast assortment of chamber works, most notably the “Paris Quartets.” I would expect that the Quattro Amsterdam two-LP version of these works (with Bruggen, Schroder, Bylsma and Leonhardt) was the introduction for the majority of us, and it was elucidating. These performances, which have since been transferred to a mid-priced “twofer” on Teldec, have remained without competition; that is, until the arrival of this beguiling new bargain set with Hazelzet, Huggett and the ensemble Sonnerie. Did I say, “bargain”? With playing as attuned, charming and intimate as this, and with music as attractive, melodious and seductive, this set is a bonafide steal. There is no easier, nor alluring way to come to know Telemann’s chamber works, than through his endearing, perky, warm and memorable “Paris Quartets.”

Track List:
01. G1: I Grave-Allegro-Grave-Allegro (2:49)
02. G1: II Largo (0:41)
03. G1: III Presto (2:29)
04. G1: IV Largo (0:34)
05. G1: V Allegro (3:38)
06. D1: I Allegro (3:29)
07. D1: II Affettuoso (3:29)
08. D1: III Vivace (3:41)
09. A1: I Soave (3:27)
10. A1: II Allegro (2:02)
11. A1: III Andante (3:44)
12. A1: IV Vivace (2:24)
13. g1: I Andante (3:03)
14. g1: II Allegro (2:32)
15. g1: III Largo (2:42)
16. g1: IV Allegro (2:43)
17. e1: I Prélude-Vitement (1:35)
18. e1: II Rigaudon (2:30)
19. e1: III Air (3:01)
20. e1: IV Réplique (2:35)
21. e1: V Menuet I (2:04)
22. e1: VI Menuet Il (3:26)
23. e1: VII Gigue (2:56)
24. h1: I Prélude-Gaiement (1:19)
25. h1: II Air-Modérément (2:26)
26. h1: III Réjouissance (1:52)
27. h1: IV Courante (2:02)
28. h1: V Passepied (2:07)

The Artists:

mp3, 320 kbps, cd ripping, 71:20 minutes. Covers & info included.
Part1 —–   Part2

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Niccolò Piccinni – Iphigénie En Tauride


Niccolò Piccinni – Iphigénie En Tauride
Recorded live in Bari, Italy, between the 6th and the 10th of December, 1986
(First world recording)

About the Opera:
Iphigénie en Tauride (Iphigeneia in Tauris) is a tragédie lyrique in four acts by Niccolò Piccinni, which was first performed at the Académie royale de musique (the Paris Opéra) on January 23, 1781. The opera’s libretto, by Alphonse du Congé Dubreuil, is based on a play of the same name by Claude Guimond de la Touche, although the ultimate source was the tragedy Iphigeneia in Tauris by Euripides. This opera marked the climax of the quarrel between the supporters of Piccinni and those of Christoph Willibald Gluck. Piccinni had been brought to Paris in the mid-1770s as a rival to the German composer, who had already had great success with his operas there. Arguments about the respective merits of their heroes raged between “Gluckists” and “Piccinnists”, although the composers themselves showed less enthusiasm for the fight. When Gluck learned that Piccinni was setting the same libretto to Roland as he was, he abandoned work on his score. For his part, Piccinni was an admirer of Gluck’s music and was reluctant to challenge him.  Nevertheless, in 1778 the director of the Paris Opéra, De Vismes du Valgay, finally succeeded in arranging a direct confrontation when he persuaded both composers to write an opera on the same story, but not the same libretto: Iphigénie en Tauride. Piccinni accepted on condition that his version was staged first. In the event, problems with the quality of the libretto (and, possibly, backstage political manoeuvrings) meant that Gluck’s opera was the first to receive its premiere in May, 1779. Gluck’s Iphigénie en Tauride was immediately acclaimed as a masterpiece. The success of his rival caused Piccinni to delay his own opera even further and it was not until a year and a half later that it was finally presented to a Parisian audience. The reaction was lukewarm, although a revival in 1785 was received more favourably.

Track List:
cd1
01. Ouverture (7:32)
02. Act 1 (Scene I) – “O jour fatal!” (2:01)
03. Act 1 (Scene II) – “Jeune et belle princesse!” (1:28)
04. Act 1 (Scene II) – “Pour adoucir mes maux” (1:57)
05. Act 1 (Scene II) – “Diane! Suspends ton courroux” (2:01)
06. Act 1 (Scene III) – “A mes peines sensible” (1:28)
07. Act 1 (Scene III) – “A la triste clarte” (2:01)
08. Act 1 (Scene III) – “Mais tout-a-coup le Ciel est sans nuage” (3:29)
09. Act 1 (Scene IV) – “De Diane en ce jour” (1:21)
10. Act 1 (Scene V) – “Mon Peuple, qui me croit heureux” (2:30)
11. Act 1 (Scene V) – “Quelle epaisse vapeur” (3:41)
12. Act 1 (Scene VI) – “Les Dieux ne sont point courrouces” (0:51)
13. Act 1 (Scene VI) – “Vous nous envoyez des victimes” (3:40)
14. Act 2 (Scene I) – “O sort funeste!” (3:49)
15. Act 2 (Scene II) – “Quel moment pour mon coeur sensible!” (4:11)
16. Act 2 (Scene II) – “Fais eclater la foudre” (1:58)
17. Act 2 (Scene III) – “Arretez, rendez-vous, ennemis de nos Dieux!” (2:42)
18. Act 2 (Scene IV) – “Dieux tout-puissants!” (4:00)
cd2
01. “Ah! barbare Thoas!” (5:38)
02. “Etrangers, que je plains” (2:50)
03. “Son fils… il a venge son pere.” (0:43)
04. “Qu’est devenu ce fils?” (0:53)
05. “Eh! Que reste-ti-il donc… ?” (2:05)
06. “O jour fatal!” (2:58)
07. “Au trepas tous les deux… ” (1:19)
08. “O moment cher a ma tendresse!” (0:44)
09. “Cruel! et tu dis que tu m’aimes?” (4:04)
10. “Je t’aime plus que moi” (2:31)
11. “Non, ne l’espere pas… ” (1:07)
12. “Mon coeur se fie a votre zele” (3:08)
13. “Si mon coeur ressent leurs alarmes” (5:59)
14. “On va conduire ici la victime innocente.” (4:30)
15. “Pour votre mort en ces lieux tout s’apprete” (3:27)
16. “Quel bonheur!” (2:13)
17. V) – “Que vois-je!” (2:04)
18. VII) – “Ah! pour nous le Ciel de declare” (2:17)
19. IX) – “J’abolis a jamais l’usage” (1:22)
20. IX) – “Quittez cet horrible rivage” (3:20)

The Artists:

mp3, 320 kbps, cd ripping, 103:52 minutes
Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3

Christoph Willibald Gluck – Iphigénie En Aulide


Christoph Willibald Gluck – Iphigénie En Aulide

About the Opera:
This is the only available recording of a neglected masterpiece, Gluck’s first “Iphigenie” opera, (there was a recording by Riccardo Muti, a few years back, which is now deleted) premiered in Paris in 1774, five years before his greatest work, “Iphigenie en Tauride”. Though “Iphigenie en Aulide” doesn’t have the concentrated force of the later opera, it is still very moving and contains much beautiful music. It was the first of Gluck’s six operas to be written for the French stage and while it certainly forms part of his mission to reform the old, seemingly undramatic style of Baroque opera, it also owes a great deal to the tradition of `tragedie lyrique’, and listeners familiar with Rameau or Leclair will be at home here – Gluck’s work, like theirs, is built up from a mosaic of short arias, choruses and dances, with plenty of opportunity for big setpiece scenes.

Gluck’s other opera on the theme, “Iphigenie en Tauride”, uses an alternative version of the myth where Iphigenia vanishes at the moment of sacrifice and is taken off by the goddess Diana to serve as her priestess in the desolate, far distant region of Tauris on the Black Sea, until she is rescued, years later, by her long-lost brother, Orestes.

Track List:
cd1
01. Ouverture (6:23)
02. Acte I – Scene 1. “Diane Impitoyable” (1:26)
03. Acte I – Scene 1. Air. “Brillant Auteur de la Lumiere” (2:25)
04. Acte I – Scene 2. Choeur. “C’est Trop Faire de Resistance” (1:27)
05. Acte I – Scene 2. “D’une Sainte Terrreur” (2:19)
06. Acte I – Scene 2. Choeur “Nommez-Nous la Victime” (0:57)
07. Acte I – Scene 3. “Vous Voyez Leur Fureur Extreme” (0:45)
08. Acte I – Scene 3. Air. “Peuvent-Ils Ordonner?” (2:06)
09. Acte I – Scene 3. “Vous Oseriez Etre Parjure?” (1:10)
10. Acte I – Scene 4. Air. “au Faite Des Grandeurs” (1:43)
11. Acte I – Scene 4. “Dieux Cruels!” (0:24)
12. Acte I – Scene 4. Choeur. “Que D’attraits!” (3:22)
13. Acte I – Scene 5. Air. “Que J’aime a Voir Ces Hommages Flatteurs” (1:04)
14. Acte I – Scene 5. “Demeurez Dans Ces Lieux” (0:23)
15. Acte I – Scene 5. Choeur. “Non, Jamais” (2:38)
16. Acte I – Scene 5. Air “Les Voeux Dont ce Peuple M’honore” (1:05)
17. Acte I – Scene 5. Air (Mouvement de Passepied) (0:45)
18. Acte I – Scene 6. “Allez, il Faut Venger Notre Gloire Offensee” (1:14)
19. Acte I – Scene 6. Air. “Armez-Vous D’un Noble Courage” (1:27)
20. Acte I – Scene 7. “L’ai-je Bien Entendu?” (0:34)
21. Acte I – Scene 7. Air. “Helas! Mon Coeur Sensible!” (2:51)
22. Acte I – Scene 8. “en Croirai-je Mes Yeux?” (1:37)
23. Acte I – Scene 8. Air. “Iphigenie, Helas!” (1:00)
24. Acte I – Scene 8. “S’il Est Vrai” (0:21)
25. Acte I – Scene 8. Air. “Cruelle, Non Jamais” (2:43)
26. Acte I – Scene 8. “Mon Trouble, Mes Soupcnons” (0:36)
27. Acte I – Scene 8. Duo. “ne Doutez Jamais de ma Flamme” (3:50)
28. Acte II – Scene 1. Choeur. “Rassurez-Vous, Belle Princesse” (2:29)
29. Acte II – Scene 1. Air. “Par la Crainte et Par L’esperance” (2:28)
30. Acte II – Scene 2. “ma Fille, Votre Hymen S’apprete” (0:52)
31. Acte II – Scene 3. Marche (1:00)
32. Acte II – Scene 3. “Rival de ma Valeur” (0:33)
33. Acte II – Scene 3. “Chantez, Celebrez Votre Reine” (2:37)
34. Acte II – Scene 3. Air. “Achille Est Couronne” (1:06)
35. Acte II – Scene 3. “Ami Sensible, Ennemi Redoutable” (0:56)
36. Acte II – Scene 3. Air Gai (Danse) (0:45)
37. Acte II – Scene 3. Passacaille (Ballet) (7:19)
cd2
01. Scene 3. Choeur. “Les Filles de Lesbos” (2:00)
02. Scene 3. Air Pour Les Esclaves (3:58)
03. Scene 3. Quatuor. “Jamais a Tes Autels” (1:12)
04. Scene 4. “Princesse, Pardonez” (1:39)
05. Scene 4. Air. “Par un Pere Cruel” (4:15)
06. Scene 4. “Reiner, Rassurez-Vous” (0:36)
07. Scene 4. Trio. “C’est Mon Pere, Seigneur” (3:08)
08. Scene 5. “Suis-Moi, Patrocle” (1:33)
09. Scene 6. “je le Vois” (2:27)
10. Scene 6. Duo. “de Votre Audace Temeraire” (1:01)
11. Scene 7. “tu Decides Son Sort” (5:12)
12. Scene 7. Air. “o Toi, L’objet le Plus Aimable” (4:18)
13. Scene 1 &2. Choeur. “Non, Non, Nous ne Souffrirons Pas” (1:25)
14. Scene 3. “Princesse, Suivez-Moi” (1:07)
15. Scene 3. Air. “il Faut, de Mon Destin” (1:42)
16. Scene 3. “et Vous M’aimez” (0:40)
17. Scene 3. “Adieu: Conservez Dans Votre Ame” (3:12)
18. Scene 3. “Sans Vous, Achille Pourrait Vivre?” (0:41)
19. Scene 3. Air. “Calchas, D’un Trait Mortel Perce” (1:18)
20. Scene 4. “Cruel! il Fuit” (0:29)
21. Scene 5. “Osez Mettre le Comble” (1:20)
22. Scene 5. Air. “Adieu, Vivez Pour Oreste” (1:30)
23. Scene 5. “Vous Entendez Les Cris” (1:01)
24. Scene 6. “Dieux Puissants Que J’atteste” (2:34)
25. Scene 6. Air. “Jupiter, Lance la Foudre” (1:38)
26. Scene 6,7,8. Choeur. “Puissante Deite” (3:48)
27. Scene 9. Descente de Diane “Votre Zele Des Dieux a Flechi la Colere” (1:36)
28. Scene 9. “Adorez la Clemence” (1:30)
29. Scene 9. Quatuor. “Mon Coeur ne Saurait Contenir” (2:21)
30. Scene 9. Choeur “Jusque Aux Voutes Etherees (1:47)
31. Scene 9. Passacaille (2:44)
32. Scene 9. Choeur “Partons, Volons a la Victoire” (1:53)

The Artists:

mp3, 320 kbps, cd ripping, 2 hours 12 minutes
Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3 —–  Part4

Johann Sebastian Bach – Six Sonatas For Violin And Harpsichord


Johann Sebastian Bach – Six Sonatas For Violin And Harpsichord

About the work:
Missing Bach’s sonatas and partitas is like missing the Art of Fugue or the Passions:  it means loosing one of the pillars of the whole classical music. Bach is ground to all his successors in all fields: he wrote everything for any instrument and one can find Bachian fugues in Beethoven and Rachmaninov, the Bach’s Ciaccona, BWV 1004, in Mendelssohn’s violin concerto, Bach’s contrapunctum in Schumann’s symphonies… Bach is everywhere at any time, but unfortunately not many music lovers are aware of that!. These six sonatas are part of a huge set of sonatas and partitas for any kind of instrument: they summarise well all that work and therefore must be known entirely. Their “standard” structure can be described as follow: 1.A slow graceful first movement; 2.A fast movement; 3.A slow, deep and sweet piece; 4.A bursting out and lively fast movement. There is however an evident exception in the last sonata, further considered. Please do not think these pieces are minor, just because they have been written for a few instruments (there are pieces of Bach played by a single violin, cello or flute): instead they are soaked of Bach’s magnitude and the monumentality of a Passion is “concentrated” in these pieces. On the contrary, it seems that the less instruments he composed for, the higher the accuracy of his compositions: the typical example is in the partitas for solo violin, in which a single melodic line entirely describes the deep sensitivity of the greatest composer of all times.
Generally speaking, in all sonatas defined as “for harpsichord and…”, the harpsichord is dominant; this does not amaze, because Bach was the first great composer to give the keyboard instrument a solo part, where the piece is for more than one instrument (the 5th Brandenburg Concerto is the solo-keyboard christening in an orchestral work). Up to then, the harpsichord had been used only as a “complementary” instrument, leading the rhythmical part of the bass or accompanying (through simple chords) another instrument which led the melodic part. There are a lot of examples for it in Bach’s sonatas for Flute (violin) and figured bass.

Track List:
cd1
01. moll BWV 1014, 1. Satz Adagio (3:22)
02. moll BWV 1014, 2. Satz Allegro (3:15)
03. moll BWV 1014, 3. Satz Andante (2:20)
04. moll BWV 1014, 4. Satz Allegro (3:38)
05. Dur BWV 1015, 1. Satz Dolce (2:27)
06. Dur BWV 1015, 2. Satz Allegro (3:11)
07. Dur BWV 1015, 3. Satz Andante un poco (2:30)
08. Dur BWV 1015, 4. Satz Presto (4:58)
09. Dur BWV 1016, 1. Satz Adagio (3:42)
10. Dur BWV 1016, 2. Satz Allegro (3:24)
11. Dur BWV 1016, 3. Satz Adagio ma non tanto (3:51)
12. Dur BWV 1016, 4. Satz Allegro (4:06)
13. Dur BWV 1021, 1. Satz Adagio (3:09)
14. Dur BWV 1021, 2. Satz Vivace (1:06)
15. Dur BWV 1021, 3. Satz Largo (2:01)
16. Dur BWV 1021, 4. Satz Presto (1:51)
cd2
01. moll BWV 1017, 1. Satz Alla sicililiana (4:01)
02. moll BWV 1017, 2. Satz Allegro (5:21)
03. moll BWV 1017, 3. Satz Adagio ma poco (2:49)
04. moll BWV 1017, 4. Satz Allegro assai (5:00)
05. moll BWV 1018, 1. Satz ohne Satzbezeichnung (5:56)
06. moll BWV 1018, 2. Satz ohne Satzbezeichnung (5:17)
07. moll BWV 1018, 3. Satz Adagio (2:15)
08. moll BWV 1018, 4. Satz Vivace (2:53)
09. Dur BWV 1019, 1. Satz Molto allegro (3:41)
10. Dur BWV 1019, 2. Satz Largo (1:26)
11. Dur BWV 1019, 3. Satz ohne Satzbezeichnung (5:38)
12. Dur BWV 1019, 4. Satz Adagio (2:37)
13. Dur BWV 1019, 5. Satz Allegro assai (3:50)
14. moll BMV 1023, 1. Satz ohne Satzbezeichnung (0:57)
15. moll BMV 1023, 2. Satz Adagio ma non troppo (2:43)
16. moll BMV 1023, 3. Satz Allemanda (4:06)
17. moll BMV 1023, 4. Satz Gigue (3:38)

Players:
Benjamin Schmid: violin
Anthony Spiri: harpsichord
Sebastian Hess: cello (on tracks 13-16 in cd1)

mp3, 320 kbps, cd ripping, 111:16 minutes. Covers & info included.

Part1 —–   Part2 —–   Part3

Wolfgang Amadeus Mozart – Ascanio In Alba


Wolfgang Amadeus Mozart – Ascanio In Alba
Recorded in Paris between 16th and 24th of September, 1990

About the Opera:
Ascanio in Alba, KV 111, is an Italian pastoral opera in two acts written by Wolfgang Amadeus Mozart in 1771, Based on the play by Count Claudio Nicolo Stampa with libretto by Giuseppe Parini. Mozart was 15 years old when this opera was first performed in Milan at the Teatro Regio Ducal on October 17, 1771.

Track List:
cd1
01. Overture (3:38)
02. Act 1, Scene 1 – Andante grazioso, che ballano le Grazie (1:24)
03. Act 1, Scene 1 – Coro de geni e grazie: Di te più amabile (2:21)
04. Act 1, Scene 1 – Recitativo: Geni, grazie ed amori (2:42)
05. Act 1, Scene 1 – Aria: L’ombre de’rami tuoi (4:49)
06. Act 1, Scene 1 – Recitativo: Ma la ninfa gentil (4:47)
07. Act 1, Scene 1 – Coro di geni e grazie: Di te più amabile (1:20)
08. Act 1, Scene 2 – Recitativo: Perchè tacer degg’io? (4:53)
09. Act 1, Scene 2 – Aria: Cara, lontano ancora (4:56)
10. Act 1, Scene 3 – Coro di pastori: Venga, de’sommi eroi (1:34)
11. Act 1, Scene 3 – Recitativo: Ma qual canto risona? (1:11)
12. Act 1, Scene 3 – Coro di pastori: Venga, de’sommi eroi (1:29)
13. Act 1, Scene 3 – Recitativo: Ma tu, chi sei (1:52)
14. Act 1, Scene 3 – Aria: Se il labbro più non dice (3:31)
15. Act 1, Scene 3 – Recitativo: Quanto soavi al core (1:54)
16. Act 1, Scene 4 – Coro di pastori e pastorello o ninfo, e ballo: Hai de Diana il core (3:58)
17. Act 1, Scene 4 – Recitativo: Oh generosa Diva (0:49)
18. Act 1, Scene 4 – Coro de pastori: Venga, de sommi eroi (1:35)
19. Act 1, Scene 4 – Recitativo: Di propria man la Dea (0:59)
20. Act 1, Scene 4 – Coro de pastori: Venga, de’sommi eroi (1:31)
21. Act 1, Scene 4 – Recitativo: Oh mia gloria (0:32)
22. Act 1, Scene 4 – Aria: Per la gioia in questo seno (5:06)
23. Act 1, Scene 4 – Recitativo: Misera! che farò? (2:27)
24. Act 1, Scene 4 – Cavatina: Si, ma d’un altro amore (2:15)
25. Act 1, Scene 4 – Recitativo: Ah no, Silvia t’inganni (3:28)
26. Act 1, Scene 4 – Aria: Come è felice stato (4:19)
27. Act 1, Scene 4 – Recitativo: Silvia, mira, che il sole (1:08)
28. Act 1, Scene 4 – Coro di pastori: Venga, venga, de’sommi eroi (1:33)
29. Act 1, Scene 5 – Recitativo: Cielo! che vidi mai? (1:02)
30. Act 1, Scene 5 – Aria: Ah di sì nobil alma (4:09)
31. Act 1, Scene 5 – Recitativo: Un’altra prova (1:46)
cd2
01. Aria: Al chiaror di que’bei rai (3:50)
02. Coro di geni e grazie: Di te più amabile (1:30)
03. Recitativo: Star lontana non so (1:45)
04. Aria: Spiega il desio, le piume (7:14)
05. Coro di pastorelle: Già l’ore sen volano (1:27)
06. Recitativo: Cerco di loco in loco (8:36)
07. Aria: Dal tuo gentil sembiante (10:35)
08. Recitativo: Ahimè! Che veggio mai? (0:58)
09. Aria: Al mio ben mi veggio avanti (4:22)
10. Recitativo: Ferma, aspetta (3:48)
11. Aria: Infelici affetti miei (4:42)
12. Recitativo: Anima grande (0:15)
13. Coro di pastorell: Che strano evento (0:27)
14. Recitativo: Ahi la crudel come scoccato dardo (0:51)
15. Aira: Torna mio bene, ascolta (3:49)
16. Coro di pastori: Venga, venga, de’sommi eroi (1:36)
17. Recitativo: Che strana meraviglia (0:33)
18. Aria: Sento, che il cor mi dice (4:21)
19. Recitativo: Si, padre (0:31)
20. Coro di pastori, e ninfe o pastorelle: Scendi celeste Venere (1:20)
21. Recitativo: Ma s’allontani almen (1:03)
22. Coro di pastori e pastorelle: No, non possiamo vivere (1:19)
23. Recitativo: Ecco, ingombran l’altare (0:15)
24. Coro do pastori, e ninfe o pastorelle: Scendi celeste Venere (1:18)
25. Recitativo: Invoca, o figlia (1:08)
26. Terzetto: Ah caro sposo, oh dio! (5:00)
27. Recitativo: Eccovi al fin (1:46)
28. Piccola pate del terzetto precedente: Che bel piacer io sento (1:33)
29. Recitativo: Ah chi nodi più forti (1:38)
30. Coro ultimo di geni ,grazie ,pastori e ninfe: Alma Dea, tutto il mondo governa (1:34)

The Artists:

mp3, 320 kbps, cd ripping, 2 hours 38 minutes
Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3 —–  Part4

Gaetano Donizetti – Maria Stuarda


Gaetano Donizetti – Maria Stuarda
Recorded in 1976

About the Opera:
Maria Stuarda (Mary Stuart) is a tragic opera, tragedia lirica, in two acts, by Gaetano Donizetti, to a libretto by Giuseppe Bardari, based on Friedrich von Schiller’s 1800 play Maria Stuart. It received its premiere on December 30, 1835 at La Scala, Milan.
The subject is based on the lives of Mary, Queen of Scots (Mary Stuart) and her cousin Queen Elizabeth I. The king banned performances of the opera, and Donizetti responded by removing large segments of the score for use in a different work, Buondelmonte.  However, Maria Malibran (a famous mezzo-soprano who often sang soprano parts) forced a premiere at La Scala and ignored the censoring revisions, but a ban by the city was enforced. Realizing the impossibility of a run in Italy, a London premiere was planned, but Malibran’s death at the age of 28 in 1836 cancelled the project. Except for several productions of the Buondelmonte version, the work was neglected until 1958 when a production in Bergamo, Donizetti’s hometown, brought the original work into popularity. The premiere in England was held on March 1, 1966. When forced to simplify part of the music for the original Elisabetta, Donizetti scribbled on the margin “But it’s ugly!”, and further on refused a change, writing “Do it, and may you live for a hundred years!

Track List:
cd1
01. Introduzione …Qui s´attenda, ell`è vicina (3:26)
02. Si, voul di Francia il Rege (1:20)
03. (Ah! quando all`ara scorgemi…) (2:53)
04. In tal giorno di contendo (1:26)
05. Ah! dal cielo discenda un raggio (3:22)
06. Fra voi perché non veggio il Conte? (1:30)
07. Hai nelle giostre, o Talbot, chiesto di me? (1:53)
08. Questa imago, questo foglio (6:17)
09. Sei tu confuso? (3:57)
10. Si! Era d`amor I`immagine (4:46)
11. (Sul crin la rivale la man mi stendea…) (2:18)
12. Allenta il piè, Regina (3:08)
13. O nube! che lieve per I`aria ti aggiri (4:00)
14. Nella pace del mestro riposo (2:46)
15. Ah! non m’inganna la gioia! (1:46)
16. Da tuuti abbandonata (4:52)
17. Ah! Se il mio cor tremò giammai (2:09)
18. qual loco è questo? (2:15)
19. (E´sempre la stessa) (2:28)
20. deh! I´accogli…Morta al mondo, e morta al trono (7:50)
21. Va! preparati, furente (1:55)
cd2
01. E pensi? e tardi? (3:17)
02. Quella vita a me funesta (4:40)
03. Ah, deh! per pietà sospendi (3:12)
04. D´una sorella, o barbara (1:29)
05. Vanne, indegno: t’appare nel volto (1:26)
06. La perfida insultarmi volea nel mio sepolcro (3:47)
07. O mio buon Talbot! (4:30)
08. Quando di luce rosea (6:00)
09. Lascia contenta al carcere (2:19)
10. Vedeste?…Vedemmo (5:34)
11. Anna!…Qui più sommessi favellate (4:16)
12. Deh! Tu di un umile preghiera il suono (3:49)
13. O colpo!…E’ già vicino del tuo morrir I’istante (1:31)
14. D”un cor che muore reca il perdono (3:38)
15. Giunge il Conte (1:59)
16. Ah! de un giorno da queste ritorte (4:46)

The Artists:

mp3, 320 kbps, cd ripping, 2 hours 2 minutes
Covers, info & synopsis included.

Part1 —–   Part2 —–   Part3

Joseph Haydn – Armida (Eszterházy opera cycle)


Joseph Haydn – Armida (Eszterházy cycle)
Recorded in Switzerland on September 1978

About the Opera:
Armida is an opera in three acts by Joseph Haydn, set to a libretto based upon Torquato Tasso’s poem Gerusalemme liberata (Jerusalem Delivered) and written duringhis services for the Eszterházy family. The first performance was 26 February 1784 and it went on to receive 54 performances from 1784 to 1788 at the Esterháza Court Theatre. During the composer’s lifetime it was also performed in Bratislava, Budapest, Turin and Vienna. Haydn himself regarded Armida as his finest opera. Armida then disappeared from the general operatic repertoire, and in the 20th century was revived in 1968 in a concert rendition in Cologne, and later a production in Bern.
Karl Geiringer has commented on how Haydn adopted the “principles and methods” of Christoph Willibald Gluck in this opera, and how the opera’s overture alone encapsulates the opera’s plot in purely instrumental terms. Haydn’s opera contains occasional echoes of Sarti’s Giulio Sabino, played at Esterháza in 1783.

Track List:
cd1
01. Sinfonia (5:53)
02. Atto primo: Recitativo: Amici, il fiero Marte (0:40)
03. Atto primo: Aria: Vado a pugnar contento (5:16)
04. Atto primo: Recitativo: Armida, ebben, che pensi? (1:08)
05. Atto primo: Aria: Se dal suo braccio oppresso (3:40)
06. Atto primo: Recitativo accompagnato: Parti Rinaldo: ed ebbe core Armida (2:56)
07. Atto primo: Aria: Se pietade avete, oh Numi (6:59)
08. Atto primo: Marcia (1:18)
09. Atto primo: Recitativo accompagnato: Valorosi compagni, nuovi perigli (1:48)
10. Atto primo: Aria: Dove son? Che miro intorno? (5:37)
11. Atto primo: Recitativo: Ah, si scenda per poco (1:39)
12. Atto primo: Aria: Se tu seguir vuoi (3:56)
13. Atto primo: Recitativo: Armida, ah vieni, e vedi (3:34)
14. Atto primo: Recitativo accompagnato: Oh amico, Oh mio rossor! (3:49)
15. Atto primo: Duetto: Cara, sarò fedele (10:33)
16. Atto primo: Recitativo: Odi, e serba il segreto (1:11)
17. Atto primo: Aria: Tu mi sprezzi, e mi deridi (3:23)
18. Atto primo: Recitativo: No, non mi pento (0:58)
19. Atto primo: Aria: Ah, si plachi il fiero Nume (4:30)
cd2
01. Atto secondo: Recitativo: Va, pur folle (1:49)
02. Atto secondo: Aria: Teco lo guida al campo (4:10)
03. Atto secondo: Recitativo: Ben simulati io credo (3:32)
04. Atto secondo: Recitativo accompagnato: Armida…Oh affanno! (4:49)
05. Atto secondo: Aria: Cara, è vero, io son tiranno (6:27)
06. Atto secondo: Recitativo accompagnato: Barbaro! E ardisci ancor (2:17)
07. Atto secondo: Aria: Odio, furor, dispeto (2:12)
08. Atto secondo: Recitativo: Eccoti alfin, Rinaldo, reso (1:00)
09. Atto secondo: Aria: Prence amato, in questo amplesso (3:12)
10. Atto secondo: Recitativo: Ansioso già mi vedi (1:48)
11. Atto secondo: Terzetto: Partirò, ma pensa, ingrato (6:51)
12. Atto terzo: Recitativo accompagnato: Questa dunqu’è la selva? (6:30)
13. Atto terzo: Aria: Torna pure al caro bene (4:33)
14. Atto terzo: Recitativo accompagnato: Qual tumulto d’idee m’eccita in seno (1:05)
15. Atto terzo: Aria: Ah, non ferir: t’arrresta (4:53)
16. Atto terzo: Recitativo accompagnato: Che inopportuno incontro! (5:22)
17. Atto terzo: Aria: Dei pietosi, in tal cimento (3:58)
18. Atto terzo: Marcia (1:17)
19. Atto terzo: Recitativo: Fermate: Utile sia breve dimora (1:26)
20. Atto terzo: Finale: Astri che in ciel splendete (3:10)

The Artists:

mp3, 320 kbps, cd ripping, 2 hours 28 minutes
Covers, info & synopsis included.

Part1 —–  Part2 —–  Part3 —–  Part4