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Monteverdi -Duos y solos. Emma Kirkby. Evelyn Tubb. 2003.

Emma Kirkby
Claudio Giovanni Antonio Monteverdi (15 May 1567 (baptized) in Cremona– 29 November 1643) , often regarded as revolutionary, marked the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition -- the heritage of Renaissance polyphony and the new basso continuo technique of the Baroque.Monteverdi wrote one of the earliest operas, L'Orfeo, an innovative work that it is still regularly performed. He was recognized as an innovative composer and enjoyed considerable fame in his lifetime.

During his childhood, he was taught by Marc'Antonio Ingegneri,the maestro di cappella at the Cathedral of Cremona. Monteverdi learned about music by being part of the cathedral choir.He also studied at the University of Cremona.

His first music was written for publication, including some motets and sacred madrigals, in 1582 and 1583.His first five compositions were: Cantiunculae Sacrae, 1582; Madrigal Spirituali, 1583; the three-part canzonets, 1584; and the five-part madrigals– Book I, 1587, and Book II, 1590.By 1587, he had produced his first book of secular madrigals. Monteverdi worked for the court of Mantua first as a singer and violist, then as music director. By 1613, he had moved to the San Marco in Venice where, as conductor,he quickly restored the musical standard of both the choir and the instrumentalists. The musical standard had declined due to the financial mismanagement of his predecessor, Giulio Cesare Martinengo.The managers of the basilica were relieved to have such a distinguished musician in charge, as the music had been declining since the death of Giovanni Croce in 1609.

In 1632, he became a priest.During the last years of his life, when he was often ill, he composed his two last masterpieces: Il ritorno d'Ulisse in patria (The Return of Ulysses, 1641), and the historic opera L'incoronazione di Poppea (The Coronation of Poppea, 1642), based on the life of the Roman emperor Nero

Monteverdi died in Venice on 29 November 1643and was buried at the church of the Frari.


Aporte de Wolf:

Verdi. Attila.1963. BBC .Donald McIntyre (Attila). Rae Woodland (Odabella). Donald Smith (Foresto). Harry Mossfield (Ezio). TomSwift Dir.: John Matheson

Libretto by Temistocle Solera, based on the play Attila, König der Hunnen by Zacharias Werner . World premiere: Venice, Teatro La Fenice, March 17, 1846

Prologue Aquileia, Italy, 452 A.D. Attila, “the scourge of God,” has invaded Italy. The Huns celebrate their victory as a group of captured Roman women is brought in. The Roman leader is Odabella, daughter of the Lord of Aquileia, who has been killed by Attila. She declares that Italian women will always defend their country. Impressed by her courage, Attila offers to grant her a favor and Odabella asks for a sword. When Attila gives her his own, she vows to use it against him to avenge her father’s death. After the women have left, Attila summons the Roman general Ezio, greeting him with respect as a worthy adversary. Ezio proposes a secret agreement: the entire Roman Empire shall be Attila’s if he leaves Italy to Ezio (Duet: “Tardo per gli anni”). Attila angrily rejects the offer and declares that he will raze Rome.

A storm rages across a mudflat in the Adriatic lagoons. Once it has passed, the nobleman Foresto arrives with a group of Aquileian refugees. He is worried about Odabella, his fiancée (“Ella in poter del barbaro”). The refugees greet the sun as a sign of hope and Foresto urges them to build a new city there between sea and sky—the future Venice.

Act I
Odabella has stayed in Attila’s camp, which has been moved close to Rome, to find an opportunity to kill him. Looking at the night sky, she imagines seeing the faces of her father and of Foresto, whom she also believes dead (“Oh! nel fuggente nuvolo”). Suddenly Foresto appears. She is overjoyed but he rejects her and, having seen her with Attila, accuses her of betrayal. Odabella convinces him that all she wants is to have revenge, and the lovers are reconciled.

In his tent at night, Attila recounts a terrifying dream: an old man confronted him at the gates of Rome and, in the name of the gods, denied him access (“Mentre gonfiarsi l’anima”). Recovering his composure, he calls on his troops to march on the city, as a procession approaches. It is led by the Roman bishop Leo—the old man of Attila’s dream, who now repeats the same words. Attila is horrified as the Christians praise the power of God.

Act II
Alone in his camp, Ezio muses on Rome’s former glory (“Dagl’immortali vertici”). Slaves of Attila appear and invite him and the Roman captains to a banquet. One is Foresto, who suggests a plan for a surprise attack on Attila during the feast. Ezio is excited at the thought of avenging his country.

The King of the Huns welcomes Ezio and the Romans to his camp. Priestesses sing and amazons prepare to entertain the guests. Ezio repeats his suggestion to share power with Attila but is refused again. Meanwhile Foresto tells Odabella that Attila’s cup of wine has been poisoned. Feeling cheated out of her revenge, she warns the King as he is about to drink. Furious, Attila demands to know who is responsible. When Foresto steps forward, Odabella asks that the right to punish him be given to her in return for saving the King (Ensemble: “Lo spirto de’ monti”). Attila agrees and declares that as a sign of gratitude he will marry Odabella the next day.

Foresto awaits news of Odabella’s marriage, lamenting her apparent treachery (“Che non avrebbe il misero”). Ezio arrives and tells Foresto that his men are ready to attack the Huns at his signal. As the wedding procession is heard in the distance, Odabella suddenly appears, distracted and begging her father’s ghost for forgiveness for marrying the man who killed him. Foresto confronts her, but she protests that she always loved him, and soon everything is explained between them. When Attila, searching for his bride, finds Odabella with Foresto and Ezio, he accuses them of disloyalty and ingratitude (Quartet: “Tu, rea donna”). All three answer with hatred, and as distant cries signal the beginning Roman attack on the unsuspecting Huns, Odabella stabs Attila.

Donizetti. Lucia di Lammermoor. 1972. Buenos Aires. Teatro Colon. Beverly Sills. Alfredo Kraus. Gianpiero Mastromei.Victor de Narke. JOse Nait. Lidia de la Merced. Horacio Mastrango.Dir.: Juan Emilio Martini.

Richard Strauss. Friedenstag Albert Dohmen. Deborah Voigt. Alfred Reiter. Jochen Kupfer. Tom Martinsen. Attila Jun . Staatskapelle Dresden. Dir.: G. Sinopoli

To read more about the operistic production of Richard Strauss go here:

Mozart. Las Bodas de fígaro (Le Nozze di Figaro). 2009. Cardiff.Video HD. Rebecca Evans. Jacques Imbrailo. Rosemary Joshua. David Soar. Fiona Murphy. Henry Waddington. Jeffrey Lloyd Roberts. Sarah Pring. Sophie Bevan. Dir.: Michael Hofstetter

Verdi. Don Carlo. 1980. Met. Gilda Cruz Romo. Giuseppe Giacomini. Sherrill Milnes. Tatiana Troyanos. Paul Plishka. Jerome Hines. Dir. J. Levine

Gilda Cruz Romo

Halevy. La Juive.1999. Opera N. York.Francisco Casanova (Éléazar).Paul Plishka (Cardinal Brogni).Olga Makarina (Eudoxie).Hasmik Papian (Rachel).Valerian Ruminski (Albert).Jean-Luc Viala (Leopold).Grant Youngblood (Ruggiero).Michael Corvino (A man of the people).Edward Albert (The herald). Dir.: Eve Queller

Cruz-Romo sang with the leading tenors of two generations - Tucker, Corelli, Bergonzi, Alexander, Vickers, McCracken, Kónya, Cossutta, Giacomini, Pavarotti and Domingo. She arrived at the Met toward the end of the days when the company was one big happy family that worked together, toured together, cooked family style in their hotel rooms and filled in for one another. She was particularly close with colleagues Arroyo and Lili Chookasian.

Bellini. La Sonnambula. 2000. Madrid.Maria Jose Moreno (Amina). Orlin Anastassov (Rodolfo). Jose Bros (Elvino). Francisco Santiago (Alessio). Mireia Pinto (Teresa). Arantxa Armentia (Lisa) Dir.: R. Bonynge

Beethoven. Fidelio.2002. Berlin. Evelyn Herlitzius (Leonora). Thomas Moser (Florestan). Markus Brück (Fernando). Tom Fox (Pizarro).Reinhard Hagen (Rocco). Diana Damrau (Marzelline). Uwe Peper (Joaquino). Dir.: Philippe Auguin

Evelyn Herlitzius

Purcell. Rey Arturo. 1983.Berlin. Peter Siche (Rey Arturo). Mona Hermes (Filadell). Bernhard Schmitt (Merlin). Annete Robbert. Yuhei Satoh. Franz Becker. David Cordier.Andrew Hambly Smith. Dir.: Harry Spence Lyth

King Arthur or, The British Worthy (Z. 628), is a semi-opera in five acts with music by Henry Purcell and a libretto by John Dryden. It was first performed at the Queen's Theatre, Dorset Garden, London, in late May or early June 1691.

The plot is based on the battles between King Arthur's Britons and the Saxons, rather than the legends of Camelot (although Merlin does make an appearance). It is a Restoration spectacular, including such supernatural characters as Cupid and Venus plus references to the Germanic gods of the Saxons, Woden, Thor, and Freya. The tale centres on Arthur's endeavours to recover his fiancée, the blind Cornish Princess Emmeline, who has been abducted by his arch-enemy, the Saxon King Oswald of Kent.

King Arthur is a "dramatick opera" or semi-opera: the principal characters do not sing, except if they are supernatural, pastoral or - in the case of Comus and the popular Your hay it is mow'd - drunk. Secondary characters sing to them, usually as diegetic entertainment, but in Act 4 and parts of Act 2, as supernatural beckonings. The singing in Act 1 is religious observance by the Saxons, ending with their heroic afterlife in Valhalla. The protagonists are actors, as a great deal of King Arthur consists of spoken text.This was normal practice in 17th century English opera. King Arthur contains some of Purcell's most lyrical music, much of it inspired by French dance rhythms and adventurous (for the day) harmonies.

Dryden probably wrote the original libretto for King Arthur in 1684 to mark the 25th anniversary of King Charles II's Restoration the following year. The original text of King Arthur no longer exists but it was to be in three acts with an allegorical prologue. For unknown reasons Dryden abandoned his intention to have the whole work set to music and developed the prologue into another opera, Albion and Albanius, a collaboration with the Spanish composer Louis Grabu. However, Charles II died in February 1685 and Albion and Albanius was first inauspiciously performed in June 1685 during the Monmouth Rebellion. It was a failure and Dryden shelved any plans he had for the rest of the King Arthur libretto.

In the mean time, England entered a turbulent period in its history. After the Catholic James II took the throne, Dryden too converted to Catholicism. When the Protestant William III overthrew James in the Glorious Revolution in 1688, Dryden refused to renounce his faith and so lost his job as poet laureate to his rival Thomas Shadwell. Purcell's career had also suffered after the death of the music-loving Charles II. With their sources of royal patronage gone, both playwright and composer were looking to make money as freelance professionals and the London stage offered attractive opportunities.

In 1690, the theatre manager Thomas Betterton decided to risk putting on another operatic work, the first since the ill-fated Albion and Albanius. This was the semi-opera Dioclesian (1690), an adaptation of a play by Beaumont and Fletcher. Purcell's music for the production and the lavish staging made it a triumph and Betterton was eager for another such success. He persuaded Dryden to dust off and revise the libretto for King Arthur so Purcell could set it. The two had already collaborated on stage works (Dryden had written the prologue for Dioclesian and Purcell the incidental music for Dryden's comedy Amphitryon) and Dryden was effusive in his praise of Purcell's musical abilities.

Aporte de Wolf:
Gouod Fausto. 1940.Met. Richard Crooks. Helen Jepson. Ezio Pinza. Leonard Warren (Valentin). Lucielle Browning. Thelma Votipka. W. Engelman. Dir.: Wilfred Pelletier.

Jerusalem, City of Two Peaces: Heavenly Peace and Earthly Peace. 2010. Paris. Video.La Capella Reial de Catalunya.Montserrat Figueras.Jordi Savall

Jordi Savall and Montserrat Figueras, both world renowned specialists in early music, have produced an album that explores musical traditions from Jerusalem's various epochs: the Jewish, the Christian, the Arab and the Ottoman eras. Lewis Gropp introduces the intercultural musical project

For the dialogue-centred Jerusalem project, Jordi Savall and Montserrat Figueras – UNESCO Artists for Peace in 2008 – brought together Jewish, Muslim and Christian musicians from all the countries that have left traces on Jerusalem's musical traditions over the centuries: Israel, Palestine, Greece, Syria, Armenia, Turkey, England, France, Spain and Italy.

he section on the "Jewish city" begins with its foundation and ends with the destruction of the Temple in the year 70 CE. It is presented through a selection of the most beautiful psalms of King David as preserved in the ancient tradition of the Jews of southern Morocco, along with a piece on Rabbi Akiba, one of the most important fathers of rabbinical Judaism.

The Christian chapter embarks with the arrival of Queen Helena in the year 326 and ends in 1244. It opens with a Stavrotheotokia, a dark, meditative hymn to the Virgin Mary attributed to Emperor Leo VI (886-912). The following piece is Pope Urban II's First call to the Crusade (1095), recited in French to the sound of fanfares and military drums. The chapter closes with a quiet, humble improvisation on the hymn Pax in nomine Domini ("Peace in the name of the Lord!").

This final piece in the section recalls the Battle of Gaza, where the Egyptian Ayyubids inflicted a painful defeat upon the crusaders and their Syrian allies in 1244. The astutely compiled album is a musical reflection of the cornerstones in the history of the Holy Land.

Among other pieces, a sung version of Sura 17 of the Qur'an, describing the Prophet Mohammed's ascent to heaven from the Temple Mount, presents Jerusalem as an Arabic city (1244-1516).

Now almost forgotten, Jerusalem's Ottoman period lasted precisely 400 years – from 1517 to 1917. The album includes a retelling of Süleyman the Magnificent's dream, recited in Turkish to the strings of an oud, and a triumphant Ottoman warrior's march from the 16th century – albeit performed in a cultivated style of high musicality and tonal refinement.

The chapter on the "city of pilgrimage" also bears testimony to all three monotheist religions. The opening piece gives us Ibn Battuta, the eminent Moroccan traveller and scholar (ca. 1304-1377), enthusing over the legendary beauty of the gold-crowned Dome of the Rock. The team have also set texts by Jehuda ben Shmuel ha-Levi to music, the Sephardic rabbi, doctor, philosopher and poet from Saragossa in Muslim Spain. Alfonso X, called "Alfonso the Wise", the king of Castile and León (1221-1284), is also represented with a piece from the largest collection of medieval songs, the Cantiga de Santa María.

The album's most dramatic document is a historic recording by Shlomo Katz, a Jew of Romanian origin. Before Katz was to be executed in Auschwitz in 1941 he asked for permission to sing the hymn El male rahamim (God full of compassion). Deeply moved by the magnificence, emotional depth and intensity of the music, the Nazi officer on duty allowed Shlomo Katz to escape. In 1950 Katz recorded the song as a lasting testament and hymn to the victims of Auschwitz. Exuding a moving sense of tragedy and grace in itself, the piece becomes a devastating musical document in the knowledge of its history.

Jordi Savall's and Montserrat Figueras' "Jérusalem: La Ville des deux Paix" is an astutely compiled mosaic of cultures. Every song, every set of lyrics forms a possible starting point for exploring the dramatic and chequered history of the medieval Occident and Orient and the points they have in common. "Music," writes Jordi Savall of the project, "becomes the indispensable means of achieving a genuine intercultural dialogue between human beings from very different nations and religions, but who nevertheless share a common language of music, spirituality and beauty."

Poulenc. Diálogo de Carmelitas. 2004. Milan.Christophe Robertson. Gordon Gietz. Dagmar Schellenberg. Anja Silja. Barbara Dever. Elisabete Matos. Sara Allegretta. Laura Aikin. Annamaria Popescu. Danilo Serraiocco. Francesco Musino. Mario Bolognesi. Dir. R. Muti

Aporte de Julian:
Kurt Weill. Street Scene. 1989.Kristine Ciesinski. Janis Kelly. Mark Beudert. Spiro Malas. Meriel Dickinson. Dir.: John Mauceri

Kristine Ciesinski

Wagner. Walküre. 1967. Buenos Aires. Teatro Colon. Gwyneth Jones (Siglinda). Birgit Nilsson (Brunhilda).Richard Martell (Sigmund). David Ward (Wotan).Heinz Hagenau (Hunding). Grace Hoffman (Fricka). Walkirias: Carmen de la Mata, Haydee de Rosa, Lydia de la Mercerd, Carmen Burello, Marta Benegas, Adriana Cantelli. Tota de Igarzabal, Tatiana Zlatar.

Massenet. Werther. 2011. Londres.Rolando Villazon. Sophie Koch. Audun Iversen. Eri Nakamura. Alain Vernhes. Darren Jeffrey. Stuart Patterson Dir.: A. Pappano

Beethoven. Sinfonia nr 9. Video. Anna Shwanewilms (sopr). Barbara Dever (contralto). Paul Groves (ten). Franz Hawlata (bajo). Orq. Saito Kinen. Dir.: Seiji Ozawa

Mascagni. Isabeu. 2011. Braunschwaeig.  Mária Porubcinová (Isabeu).Cornelia Butz (Ermyntrude). Annegret Glaser (Ermyngarde).
Julia Rutigliano (Giglietta). Arthur Shen (Folco). Elksandr Pushniak. Malte Roesner. Leszek Wos. Dae Bum Lee (mp2)

Mária Porubcinová

Aportes de Wolf:
Rossini. El Barbero de Sevilla.2010. Torino. Antonino Siragusa (Almaviva). Marina Comparato (Rosina). Roberto De Candia (Figaro). Paolo Bordogna (Bartolo). Maurizio Lo Piccolo (Basilio). Claudio Ottino (Fiorello). Dir.: Alessandro Galoppini.

Gounod. Fausto. 1949. Met. Giuseppe Di Stefano. Dorothy Kirsten. Italo Tajo. Leonard Warren. Inge Manski.  Dir. W. Pelletier

Aportes de Lele El Veneciano:
Quartetto Cetra. Antologia. 1952-1958.01 Nella vecchia fattoria.02 Un bacio a mezzanotte.03 Un disco dei Platters.04 Vecchia America.05 In un palco della Scala.06 Aveva un bavero.07 Il visconte di Castelfonbrone.08 Ricordate Marcellino. 09 Pummarola boat .10 Passa la prima Milano-San Remo  .11 Donna .12 Non so dir ti voglio bene .13 Evviva la radio a galena .14 Il fonografo a tromba .15 Non illuderti .16 Gli appassionati del Hot Club .17 Alma cianera .18 Raggio di sole

Lucia Mannucci (Bologna, 1920) cantante italiana

Lucia Mannucci iniziò a cantare giovanissima alla Radio Italiana (allora EIAR) nel 1941, partecipando in quegli anni anche a varie riviste teatrali. Nel 1944 sposò Virgilio Savona, componente del Quartetto Cetra, e nel 1947 entrò in pianta stabile nel gruppo, in sostituzione di Enrico de Angelis. Da questo momento in poi, per oltre 40 anni, le sue vicende artistiche si legarono a quelle del mitico quartetto, ma senza trascurare qualche significativa esperienza solistica.

In questa selezione musicale sono presentati una serie di 78 giri risalenti agli anni 1950-51, poi ristampati su disco LP negli anni ’80, in cui la Mannucci, accompagnata dal chitarrista Franco Cerri, si dimostra cantante raffinatissima. Oltre 25 anni dividono queste incisioni da una serie di canzoni popolari in dialetto veneziano, risalenti al XVIII secolo, ma la voce della Mannucci appare sempre freschissima, e in grado di restituire tutte le sfumature richieste da questi brani.

Lucia Mannucci e Franco Cerri "Come eravamo", 1950-51

Le tue mani (Spotti - Montano) .Valse des souvenirs (Wal - Berg - Companese) .Tre piccole parole (Three little words) - (Ruby) .La pasticciera (Savona - Mannucci) .E’ l’alba (Trovajoli - Testoni) .Stretti cuore a cuor (Rossi - Pallesi).Al nonno piace il be-bop (Savona - Giacobetti)..La storia dì Mimì (Trovajoli - Testoni)  .Settembre (September song, Weil - Anderson - Ardo) .Tea for two (Youmans) .Chaveux dans le vent (Coquatris - Chabannes) .Sapevi di mentire (Otto - Berini) .La giraffa Pasqualina (Savona - Mannucci).I miei sogni (My dreams is yours, Warren - Pinchi - Calibi) .La vispa Teresa (Parravicini - Rampoldi).Mani che si cercano (Redi - Colombo)

Lucia Mannucci - Canzoni da battello del Settecento veneziano -1977

A sta cara vedovela .Go una pena malegnaza.Contrasto tra Aneta e Catina.Cara Betina.Mi credeva d’esser sola.Le gatorìgole.Petégole! Se dise.Premi o stali.Contrasto tra mare e fia

Lucia Mannucci
Verdi. Otello. 2011.Paris. Aleksandrs Antonenko(Otello).Renee Fleming (Desdemona): Nona Javakhidze (Emilia).Sergei Murzaev(Iago).Michael Fabiano (Cassio).Francisco Almanza(Roderigo). Dir.: Marco Armiliato

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