Speranza
---
Basada en la tragedia griega que le da nombre, el próximo martes 18 de octubre a las 20:30horas, la producción argentina original del maestro Mario Perusso subirá al escenario del Teatro Colón bajo su propia Dirección Musical y la Dirección Escénica de su hijo, Marcelo Perusso.
Las cuatro funciones programadas se realizarán los días martes 18, viernes 21, miércoles 26 a las 20:30 horas y el domingo 30 a las 17:00 horas.
La ópera de Perusso plantea una renovada y atemporal visión de la historia de la princesa cretense que se quita la vida, tras vengarse de Hipólito, el hijo de su marido el Rey Teseo, por no haber correspondido su amor.
Mario Perusso fue designado compositor residente del Teatro Colón en el 2010 y, como tal, le fue encomendada la composición original de una ópera para la temporada lírica 2011.
Marcelo Perusso, por su parte, ha sido el creador del libreto de "Fedra", además de encargarse de la Dirección Escénica y del vestuario.
La tragedia griega, que ha cobrado vida en la obra de importantes escritores, músicos y artistas plásticos a lo largo de los siglos, recobra vida en esta nueva visión que se dará a conocer en calidad de estreno mundial sobre el escenario de nuestro primer coliseo.
Programa
Música de Mario Perusso
Libreto de Marcelo Perusso
Dirección Musical: Mario Perusso
Dirección de Escena, Diseño de Escenografía y Vestuario:
Marcelo Perusso
Diseño de Iluminación: Rubén Conde
Diseño coreográfico: Guillermina Tarsi
Orquesta Estable del Teatro Colón
Reparto
Fedra . . . . . . . . Alejandra Malvino
Ippolito . . . . . . Marcelo Puente
Teseo . . . . . . . Leonardo Estévez
La nodriza . . . . . Haydée Dabusti
Aricia. . . . . . . . Daniela Tabernig
Selene . . . . . . . . Florencia Machado
Ecate. . . . . . . . . Alicia Alduncín
Teramene . . . . . . . Gustavo Feulien
Wednesday, October 12, 2011
Tuesday, October 11, 2011
Angelo Manzotti: Ippolito (Traetta)
Speranza
Intervista con Angelo Manzotti
Angelo Manzotti si dedica da tempo alla riscoperta del repertorio storico.
In questo suo difficile compito, nel 1999, interpretò nell'occasione del 25º Festival della Valle d'Itria, il ruolo di "Ippolito" nell'"Ippolito e Aricia" di Traetta.
Il Maestro Manzotti ha perfezionato, con un lungo periodo di allenamento, cominciato autonomamente all’età di dodici anni, una particolare tecnica di canto.
Con la sua voce eccezionale ha vinto il Concorso internazionale Luciano Pavarotti nel 1992 e il Premio Timbre de Platine per la sua prima registrazione del CD Arie di Farinelli editato da Bongiovanni nel 1995.
Q: Lei interpretò Ippolito nel 25º Festival della Valle d'Itria, come fu il suo approccio con la musica di Traetta?
Angelo Manzotti:
La musica di Traetta e bellissima e di una modernità notevole.
Il mio approccio si è basato sull’avvicinarmi con umiltà per studiare una parte tanto complessa.
Le problematiche di carattere belcantistico erano evidenti fin da un primo sguardo e lo studio del fraseggio, della linea del canto mi hanno messo in difficoltà per ricercare colori adatti e per dare un senso appropriato alle frasi musicali.
Il ruolo infatti non prevede i classici passaggi vocalizzati del barocco, nelle arie c’è una ricerca della “verità” drammatica che esula spesso dai modi convenzionali del belcanto tipico dell’epoca.
Il linguaggio musicale di Traetta si può considerare molto moderno per quel periodo (sembra Mozart ben prima di Mozart).
E un canto tutto sul fiato, fatto di dinamiche sfumate e di direzione del fraseggio, quindi non ci dovevano essere sbavature di alcun genere.
Non so se questo mi è riuscito, ma ci ho messo la mia volontà perché ciò non accadesse.
Q:
Quali difficoltà comporta il ruolo di Ippolito, che Filippo Elisi aveva interpretato per la prima volta?
MANZONI:
Le maggiori difficoltà sono legate alla tessitura eccessivamente acuta, infatti alcune cose mi sono state adattate, come in fondo si è sempre fatto anche in passato, dato che si scriveva per un determinato cantante e pertanto si assecondavano nella scrittura musicale le caratteristiche vocali di questo.
Il ruolo prevede infatti due arie in tessitura lirica-leggera mentre la seconda aria ha una drammaticità di tono lirico spinto.
Inoltre bisognava rendere la soavità legata alla purezza del personaggio, alla sua dolcezza, evitando di eccedere quindi con bordate di suono, tranne che per gli acuti estremi e per la sola aria drammatica del terzo atto.
Insomma, un ruolo non facile.
Q:
Che ricorda di quell'interpretazione di Ippólito della Valle d'Itria?
MANZONI:
Circa l’interpretazione ricordo i contrasti tra regista, che voleva Ippolito dolce e delicato come una porcellana e il costumista che mi avrebbe visto come un macho culturista tutto muscoli (che io non posseggo).
Naturalmente il regista ha avuto la meglio e questa visione del personaggio è molto più congrua con la musica di Traetta.
Ricordo l’emozione della supplica al padre nella mia ultima aria, quando la mia mano si univa alla sua e l’emozione era nei nostri sguardi.
Credevamo in quella musica e in ciò che stavamo vivendo (e non solo cantando... che sarebbe riduttivo).
Un Ippolito tutto infelicità e tormento.
Ricordo anche (purtroppo) il gelo terribile di quelle serate.
Il tempo inclemente non ci ha aiutati e la bellissima Puglia in piena estate chi ha letteralmente congelati.
Alla seconda recita si vedeva il fiato di noi cantanti a causa del freddo,ed è stato un problema per tutti (ci siamo ammalati...)
Q:
Secondo lei, quale può essere la spiegazione che un compositore come Traetta, per molti il "riformatore del melodramma" probabilmente prima di Gluck, e precursore in qualche modo dello stesso Mozart, sia caduto nel dimenticatoio?
MANZOTTI:
Da sempre succede così, non c’è più da stupirsi.
Quanti “talenti” discutibili e mediocri vengono idolatrati, semplicemente perché spinti e sostenuti dallo star system o da altre ragioni poco chiare? ( e poco oneste!!!!)
Tutt’oggi chi non ha santi in paradiso, pur avendo talento e capacità soccombe e assistiamo al trionfo di artisti mediocri ma ben sponsorizzati.
Forse anche a Traetta è stata riservata questa sorte.
Nulla è nuovo sotto il sole e così, qualcuno meno capace ma molto più sostenuto sotto molti aspetti ha assunto un ruolo che poteva benissimo essere di Traetta e che probabilmente Lui meritava.
Non sempre c’è una giustizia che ripaga nella storia, e Traetta è caduto così in oblio.
Forse c’era un grande interesse nel sostenere il noioso Gluck e costui aveva appoggi molto più potenti per farsi definire riformatore del melodramma e assurgere a una gloria che avrebbe potuto benissimo essere d’altri.
Q: Dove marca lei la frontiera tra Traetta e Mozart?
MANZOTTI:
La domanda per me è troppo complessa e non ho le competenze musicologiche per rispondere con cognizione di causa.
Penso solo all’inizio della sinfonia dell’Ippolito e Aricia e... mi ricorda quella del Flauto magico.
Ma quest’ultimo non è stato scritto dopo?
Dov’è il confine?
Mozart è un genio sicuramente, però ha indubbiamente attinto molto da Traetta, da Luchesi (altro grande dimenticato e molto scopiazzato) e da altri venuti prima di lui.
Comunque la domanda esula dalle mie possibilità di conoscenza e così mi fermo qui.
Q:
Quale personaggio delle opere composte da Traetta le piacerebbe poter interpretare se si rappresentasse nuovamente?
MANZOTTI:
Non posso dire di conoscere tutto il repertorio operistico di Traetta.
Comunque nelle 26 opere serie che ha scritto penso ci siano altri ruoli per evirati cantori e se i ruoli sono come quelli dell’"Ippolito ed Aricia" sarebbe interessante poterli avvicinare e studiare.
Tutto quindi mi piacerebbe: dai Tindaridi alla Ifigenia in Tauride, dall’Antigone alla Sofonisba, all’Armida.
Q:
Lei, con la sua voce incredibile, evoca un’epoca in cui i cantanti provocavano il delirio di chi assisteva alle rappresentazioni. Come vivono oggi giorno gli spettatori la tendenza a riscoprire questo modo di cantare?
MANZOTTI:
Gli spettatori vivono benissimo questa cosa, non se ne stupiscono e anzi, vi sono gruppi di sostenitori di queste voci che seguono noi cantanti con affetto e partecipazione.
La cosa è vissuta meno bene dalle direzioni artistiche che sono spesso prevenute e che così non danno molto spazio a queste voci (almeno in Italia è così)
Q: Qual é la migliore definizione della sua voce?
MANZOTTI:
Non saprei, e forse non spetta a me dare tale definizione.
Io posso solo dire che amo pensare che il canto sia una cosa che parte dall’anima, dal cuore, poi metto il cervello (cioè la tecnica) e in fondo la voce.
La mia voce è il mio cuore.
Q: Che le è sembrato il film di Gerard Corbiau?
MANZOTTI:
La parte musicale del film non è male; scenografia e costumi belli, ma il film è una banale invenzione per fare cassetta e di Farinelli, quello vero, c’è ben poco.
Non mi è piaciuto molto, però è servito a fare pubblicità al personaggio Farinelli e qualcuno si è così chiesto chi era costui.
Diciamo che questo film ha avuto una sua utilità, anche se per conto mio Farinelli lo ricerco nelle biografie serie, nella corrispondenza con Metastasio e nella sua musica.
Maestro Manzotti, la sua vita é ricca di aneddoti?
La mia è una vita semplice e tranquilla.
Vivo nella quiete della campagna mantovana, studio, seguo il mio giardino, seguo mia madre che è anziana, cucino... e canto.
E’ ovvio che qualche aneddoto simpatico c’è.
Girando e incontrando gente succede, ma nulla di eclatante o significativo.
Insomma, una vita tranquilla e a volte un po’ noiosa, fatta spesso di solitudine pacata e quieta.
Q:
Attualmente, una parte della critica rifiuta a priori che sopranisti o contratenori, per molti gli eredi dei castrati, interpretino ruoli scritti per questi. Che opinione le produce questo rifiuto?
MANZOTTI:
I preconcetti son sempre esistiti, un po’ come i raccomandati citati prima.
Comunque da molto io canto solo per il pubblico, dei critici mi importa ben poco e per loro ho smesso di cantare già da un pezzo.
Se non ci fosse la gente che segue, ascolta, ama, io non esisterei, quindi per loro canto.
Il pubblico si vuole emozionare e io sono lì per dare ciò che ho dentro, ciò che sento.
In quanto ai critici e alle loro prevenzioni non so che dire.
Li lascio parlare e il tempo farà il resto. Ci sono recensioni degli anni ’50 che parlano malissimo di una certa Maria Callas.
Lei è una grande e lo rimarrà nel tempo... e nessuno ricorda il nome di quei critici.
Q: Ha avuto occasione di ascoltare le registrazioni del Moreschi? Che ne pensa?
MANZOTTI:
Le registrazioni risalgono al 1902/1904 e la qualità non aiuta.
La voce può sembrare strana, ma di tanto in tanto, qualche nota non priva di fascino esce da quella registrazione e impressiona molto, trasporta in un’altra dimensione. Con molte riserve, ma quel disco mi affascina.
Q: Quali sono i suoi progetti per il prossimo futuro?
MANZOTTI:
Per ora concerti e forse un’opera in prima assoluta, ma preferisco non parlare di questo, perdonatemi.
Q: Quali sono i suoi cinque link preferiti in Internet che raccomanderebbe ai nostri lettori?
MANZOTTI:
Io sono letteralmente un “brocco” del computer e quindi non lo uso molto, perciò mi risulta difficile dire quali sono.
Ne posso citare uno che rende un grande servigio al talento di Haendel:
www.haendel.it
Q:
Per terminare, tra i dischi che lei ha registrato quale consiglia ai nostri lettori?
MANZOTTI:
Io non amo molto le mie registrazioni, però qualcosa non mi spiace.
Consiglio il Cd con Arie di Rossini (autore che io amo infinitamente) edito da Bongiovanni e poi, per chi li trova, i miei Cd dal vivo che a volte vengono venduti durante i miei concerti: sono tra le cose più belle che ho fatto e danno un’idea reale di quelle che sono le mie possibilità dal vivo, e dell’interazione tra cantante e pubblico. Sono registrazioni un po’ artigianali, ma ringrazio chi le ha fatte e penso che in esse vi siano molte cose apprezzabili.
Intervista con Angelo Manzotti
Angelo Manzotti si dedica da tempo alla riscoperta del repertorio storico.
In questo suo difficile compito, nel 1999, interpretò nell'occasione del 25º Festival della Valle d'Itria, il ruolo di "Ippolito" nell'"Ippolito e Aricia" di Traetta.
Il Maestro Manzotti ha perfezionato, con un lungo periodo di allenamento, cominciato autonomamente all’età di dodici anni, una particolare tecnica di canto.
Con la sua voce eccezionale ha vinto il Concorso internazionale Luciano Pavarotti nel 1992 e il Premio Timbre de Platine per la sua prima registrazione del CD Arie di Farinelli editato da Bongiovanni nel 1995.
Q: Lei interpretò Ippolito nel 25º Festival della Valle d'Itria, come fu il suo approccio con la musica di Traetta?
Angelo Manzotti:
La musica di Traetta e bellissima e di una modernità notevole.
Il mio approccio si è basato sull’avvicinarmi con umiltà per studiare una parte tanto complessa.
Le problematiche di carattere belcantistico erano evidenti fin da un primo sguardo e lo studio del fraseggio, della linea del canto mi hanno messo in difficoltà per ricercare colori adatti e per dare un senso appropriato alle frasi musicali.
Il ruolo infatti non prevede i classici passaggi vocalizzati del barocco, nelle arie c’è una ricerca della “verità” drammatica che esula spesso dai modi convenzionali del belcanto tipico dell’epoca.
Il linguaggio musicale di Traetta si può considerare molto moderno per quel periodo (sembra Mozart ben prima di Mozart).
E un canto tutto sul fiato, fatto di dinamiche sfumate e di direzione del fraseggio, quindi non ci dovevano essere sbavature di alcun genere.
Non so se questo mi è riuscito, ma ci ho messo la mia volontà perché ciò non accadesse.
Q:
Quali difficoltà comporta il ruolo di Ippolito, che Filippo Elisi aveva interpretato per la prima volta?
MANZONI:
Le maggiori difficoltà sono legate alla tessitura eccessivamente acuta, infatti alcune cose mi sono state adattate, come in fondo si è sempre fatto anche in passato, dato che si scriveva per un determinato cantante e pertanto si assecondavano nella scrittura musicale le caratteristiche vocali di questo.
Il ruolo prevede infatti due arie in tessitura lirica-leggera mentre la seconda aria ha una drammaticità di tono lirico spinto.
Inoltre bisognava rendere la soavità legata alla purezza del personaggio, alla sua dolcezza, evitando di eccedere quindi con bordate di suono, tranne che per gli acuti estremi e per la sola aria drammatica del terzo atto.
Insomma, un ruolo non facile.
Q:
Che ricorda di quell'interpretazione di Ippólito della Valle d'Itria?
MANZONI:
Circa l’interpretazione ricordo i contrasti tra regista, che voleva Ippolito dolce e delicato come una porcellana e il costumista che mi avrebbe visto come un macho culturista tutto muscoli (che io non posseggo).
Naturalmente il regista ha avuto la meglio e questa visione del personaggio è molto più congrua con la musica di Traetta.
Ricordo l’emozione della supplica al padre nella mia ultima aria, quando la mia mano si univa alla sua e l’emozione era nei nostri sguardi.
Credevamo in quella musica e in ciò che stavamo vivendo (e non solo cantando... che sarebbe riduttivo).
Un Ippolito tutto infelicità e tormento.
Ricordo anche (purtroppo) il gelo terribile di quelle serate.
Il tempo inclemente non ci ha aiutati e la bellissima Puglia in piena estate chi ha letteralmente congelati.
Alla seconda recita si vedeva il fiato di noi cantanti a causa del freddo,ed è stato un problema per tutti (ci siamo ammalati...)
Q:
Secondo lei, quale può essere la spiegazione che un compositore come Traetta, per molti il "riformatore del melodramma" probabilmente prima di Gluck, e precursore in qualche modo dello stesso Mozart, sia caduto nel dimenticatoio?
MANZOTTI:
Da sempre succede così, non c’è più da stupirsi.
Quanti “talenti” discutibili e mediocri vengono idolatrati, semplicemente perché spinti e sostenuti dallo star system o da altre ragioni poco chiare? ( e poco oneste!!!!)
Tutt’oggi chi non ha santi in paradiso, pur avendo talento e capacità soccombe e assistiamo al trionfo di artisti mediocri ma ben sponsorizzati.
Forse anche a Traetta è stata riservata questa sorte.
Nulla è nuovo sotto il sole e così, qualcuno meno capace ma molto più sostenuto sotto molti aspetti ha assunto un ruolo che poteva benissimo essere di Traetta e che probabilmente Lui meritava.
Non sempre c’è una giustizia che ripaga nella storia, e Traetta è caduto così in oblio.
Forse c’era un grande interesse nel sostenere il noioso Gluck e costui aveva appoggi molto più potenti per farsi definire riformatore del melodramma e assurgere a una gloria che avrebbe potuto benissimo essere d’altri.
Q: Dove marca lei la frontiera tra Traetta e Mozart?
MANZOTTI:
La domanda per me è troppo complessa e non ho le competenze musicologiche per rispondere con cognizione di causa.
Penso solo all’inizio della sinfonia dell’Ippolito e Aricia e... mi ricorda quella del Flauto magico.
Ma quest’ultimo non è stato scritto dopo?
Dov’è il confine?
Mozart è un genio sicuramente, però ha indubbiamente attinto molto da Traetta, da Luchesi (altro grande dimenticato e molto scopiazzato) e da altri venuti prima di lui.
Comunque la domanda esula dalle mie possibilità di conoscenza e così mi fermo qui.
Q:
Quale personaggio delle opere composte da Traetta le piacerebbe poter interpretare se si rappresentasse nuovamente?
MANZOTTI:
Non posso dire di conoscere tutto il repertorio operistico di Traetta.
Comunque nelle 26 opere serie che ha scritto penso ci siano altri ruoli per evirati cantori e se i ruoli sono come quelli dell’"Ippolito ed Aricia" sarebbe interessante poterli avvicinare e studiare.
Tutto quindi mi piacerebbe: dai Tindaridi alla Ifigenia in Tauride, dall’Antigone alla Sofonisba, all’Armida.
Q:
Lei, con la sua voce incredibile, evoca un’epoca in cui i cantanti provocavano il delirio di chi assisteva alle rappresentazioni. Come vivono oggi giorno gli spettatori la tendenza a riscoprire questo modo di cantare?
MANZOTTI:
Gli spettatori vivono benissimo questa cosa, non se ne stupiscono e anzi, vi sono gruppi di sostenitori di queste voci che seguono noi cantanti con affetto e partecipazione.
La cosa è vissuta meno bene dalle direzioni artistiche che sono spesso prevenute e che così non danno molto spazio a queste voci (almeno in Italia è così)
Q: Qual é la migliore definizione della sua voce?
MANZOTTI:
Non saprei, e forse non spetta a me dare tale definizione.
Io posso solo dire che amo pensare che il canto sia una cosa che parte dall’anima, dal cuore, poi metto il cervello (cioè la tecnica) e in fondo la voce.
La mia voce è il mio cuore.
Q: Che le è sembrato il film di Gerard Corbiau?
MANZOTTI:
La parte musicale del film non è male; scenografia e costumi belli, ma il film è una banale invenzione per fare cassetta e di Farinelli, quello vero, c’è ben poco.
Non mi è piaciuto molto, però è servito a fare pubblicità al personaggio Farinelli e qualcuno si è così chiesto chi era costui.
Diciamo che questo film ha avuto una sua utilità, anche se per conto mio Farinelli lo ricerco nelle biografie serie, nella corrispondenza con Metastasio e nella sua musica.
Maestro Manzotti, la sua vita é ricca di aneddoti?
La mia è una vita semplice e tranquilla.
Vivo nella quiete della campagna mantovana, studio, seguo il mio giardino, seguo mia madre che è anziana, cucino... e canto.
E’ ovvio che qualche aneddoto simpatico c’è.
Girando e incontrando gente succede, ma nulla di eclatante o significativo.
Insomma, una vita tranquilla e a volte un po’ noiosa, fatta spesso di solitudine pacata e quieta.
Q:
Attualmente, una parte della critica rifiuta a priori che sopranisti o contratenori, per molti gli eredi dei castrati, interpretino ruoli scritti per questi. Che opinione le produce questo rifiuto?
MANZOTTI:
I preconcetti son sempre esistiti, un po’ come i raccomandati citati prima.
Comunque da molto io canto solo per il pubblico, dei critici mi importa ben poco e per loro ho smesso di cantare già da un pezzo.
Se non ci fosse la gente che segue, ascolta, ama, io non esisterei, quindi per loro canto.
Il pubblico si vuole emozionare e io sono lì per dare ciò che ho dentro, ciò che sento.
In quanto ai critici e alle loro prevenzioni non so che dire.
Li lascio parlare e il tempo farà il resto. Ci sono recensioni degli anni ’50 che parlano malissimo di una certa Maria Callas.
Lei è una grande e lo rimarrà nel tempo... e nessuno ricorda il nome di quei critici.
Q: Ha avuto occasione di ascoltare le registrazioni del Moreschi? Che ne pensa?
MANZOTTI:
Le registrazioni risalgono al 1902/1904 e la qualità non aiuta.
La voce può sembrare strana, ma di tanto in tanto, qualche nota non priva di fascino esce da quella registrazione e impressiona molto, trasporta in un’altra dimensione. Con molte riserve, ma quel disco mi affascina.
Q: Quali sono i suoi progetti per il prossimo futuro?
MANZOTTI:
Per ora concerti e forse un’opera in prima assoluta, ma preferisco non parlare di questo, perdonatemi.
Q: Quali sono i suoi cinque link preferiti in Internet che raccomanderebbe ai nostri lettori?
MANZOTTI:
Io sono letteralmente un “brocco” del computer e quindi non lo uso molto, perciò mi risulta difficile dire quali sono.
Ne posso citare uno che rende un grande servigio al talento di Haendel:
www.haendel.it
Q:
Per terminare, tra i dischi che lei ha registrato quale consiglia ai nostri lettori?
MANZOTTI:
Io non amo molto le mie registrazioni, però qualcosa non mi spiace.
Consiglio il Cd con Arie di Rossini (autore che io amo infinitamente) edito da Bongiovanni e poi, per chi li trova, i miei Cd dal vivo che a volte vengono venduti durante i miei concerti: sono tra le cose più belle che ho fatto e danno un’idea reale di quelle che sono le mie possibilità dal vivo, e dell’interazione tra cantante e pubblico. Sono registrazioni un po’ artigianali, ma ringrazio chi le ha fatte e penso che in esse vi siano molte cose apprezzabili.
Ippolito --Traetta
Speranza
"Ippolito e Aricia" è un'opera musicale di Tommaso Traetta.
La prima fu rappresentata al Teatro Ducale di Parma nel maggio 1759
con Filippo Elisi nel ruolo di Ippolito.
(Caterina Gabrielli nel ruolo di Aricia)
Il resto del cast comprendeva Maria Piccinelli Verziari, detta "la Francesina" (Fedra), Angelo Amorevoli (Teseo), Domenica Lambertini (Enone), Maria Monari (Diana), Francesco Cavalli (Plutone), Antonia Fascitelli (Tisifone) e Ludovico Felloni (Mercurio).
Le coreografie furono curate da Pietro Aloardi, le scenografie da Francesco Grassi e i costumi da Giovanni Betti.
Si tratta del primo tentativo
settecentesco di costruire una
riforma del palcoscenico operistico
in Italia, vagheggiata al tempo da
numerosi intellettuali
(fin da Benedetto Marcello nel 1720, ma con nuovi argomenti nel terzo quarto del secolo), che avvertivano l'esigenza di svecchiare le drammaturgie del teatro musicale, basate sugli schemi rigidi del recitativo e aria metastasiani e sul predominio dei cantanti, le cui bizzarrie vocali finivano per sovrastare la verosimiglianza delle azioni drammaturgiche.
Inserito in un fitto dialogo con alcuni intellettuali dell'epoca, fra cui Francesco Algarotti, che era fra quelli di punta nelle richieste di un rinnovamento dell'opera in musica, il primo ministro del Ducato di Parma e Piacenza, G. Tillot, studiò un'operazione basata sulla commistione strutturale fra opera italiana e tragédie-lyrique francese.
In pratica si trattò alla fine di estendere la struttura dell'opera italiana da tre a cinque atti, ingrossando i cori e inserendo danze come nell'opera seria in uso a Parigi.
Per il soggetto la scelta cadde sul libretto di Simon-Joseph Pellegrin, tratto dalla Fedra di Jean Racine, musicato nel 1733 da Jean-Philippe Rameau a Parigi, della cui traduzione italiana fu incaricato l'abate Carlo Innocenzo Frugoni.
Per la musica fu contattato un giovane compositore pugliese,
Traetta, che fino a quel momento aveva mosso pochi
passi nella carriera teatrale.
L'operazione di Tillot mirava chiaramente ad attirare l'attenzione europea sul piccolo ducato, e a gestire il teatro attraverso un impresariato di corte diretto, agendo sui privilegiati rapporti con la Francia.
Il duca don Filippo di Borbone aveva sposato la figlia di Luigi XV e da tempo stazionavano a Parma musicisti francesi, fra cui Jean-Philippe Mangot, cognato di Rameau.
Il successo dell'opera di Traetta fu vistoso, per quanto breve.
Riuscì però a procurare a Tillot quell'attenzione che cercava, facendo parlare del teatro di Parma a mezza Europa.
Con gli stessi elementi (Frugoni, Traetta e la Gabrielli) ripeterà il tentativo l'anno successivo con I Tindaridi, modellato sul Castor et Pollux sempre di Rameau.
Musicalmente, "Ippolito e Aricia" non presenta clamorose novità.
La musica dei balletti, affidata di solito a un compositore di secondo piano, fu invece appaltata allo stesso Traetta, che in realtà riciclò quasi tutti quelli di Rameau.
L'orchestrazione variopinta di Rameau fu mitigata da Traetta secondo gli usi italiani, a parte una restituita autonomia al movimento delle viole e l'unificazione tematica delle danze con le arie adiacenti.
In realtà l'idea di unire le due strutture operistiche italiana e francese non avrebbe potuto avere grande fortuna estetica, troppo diverse erano le nature e le finalità comunicative dei due tipi di spettacolo, né l'opera francese avrebbe potuto aiutare quella italiana sulla strada di una verosimiglianza drammaturgica a cui l'opera francese stessa non credeva e non ha mai mirato.
Lo scopo drammaturgico era in fondo modesto, mantenere la centralità dell'aria italiana e rimpolpare il palcoscenico dal punto di vista dello spettacolo, il che dimostra il vero intento di Tillot.
Il successo fu quindi più mediatico che artistico, ma valse lo stesso a stimolare molte piazze italiane a lavorare sul teatro musicale come presupposto pubblicitario ed economico per le corti che li finanziavano.
Traetta ne ricavò un indubbio vantaggio in termini di immagine, visto che fu da allora che la sua carriera decollò a livello internazionale, grazie anche al binomio con la Gabrielli che divenne la sua cantante di riferimento.
È con difficoltà che opere come questa vengono oggi riproposte, per la rarità delle caratteristiche vocali maschili a sostenere parti da soprano in origine scritte per castrati.
Qui si aggiungono anche due arie in cui l'estensione arriva ad impervie altezze.
Per poterle rappresentare recentemente si è usato l'espediente dell'adattamento alle voci disponibili.
La prima rappresentazione moderna di Ippolito e Aricia è stata data nel 1999 con il Angelo Manzotti nel ruolo di Ippolito al Festival della Valle d'Itria di Martina Franca.
Nel 2002 Christophe Rousset con l'Orchestra di Montpellier e, tra gli altri, Patrizia Ciofi nel ruolo di Aricia, ne ha realizzato la seconda ripresa.
Entrambe le esecuzioni sono reperibili in cd.
Bibliografia
Marco Russo, "Tommaso Traetta: i Libretti della Riforma"
Parma 1759-61, Facoltà di Lettere di Trento, Trento 2005.
Marco Russo,
"Tommaso Traetta"
Edizioni S. Marco dei Giustiniani, Genova 2006.
Reinhard Strohm,
L'opera italiana, Marsilio, Venezia, 1991.
"Ippolito e Aricia" è un'opera musicale di Tommaso Traetta.
La prima fu rappresentata al Teatro Ducale di Parma nel maggio 1759
con Filippo Elisi nel ruolo di Ippolito.
(Caterina Gabrielli nel ruolo di Aricia)
Il resto del cast comprendeva Maria Piccinelli Verziari, detta "la Francesina" (Fedra), Angelo Amorevoli (Teseo), Domenica Lambertini (Enone), Maria Monari (Diana), Francesco Cavalli (Plutone), Antonia Fascitelli (Tisifone) e Ludovico Felloni (Mercurio).
Le coreografie furono curate da Pietro Aloardi, le scenografie da Francesco Grassi e i costumi da Giovanni Betti.
Si tratta del primo tentativo
settecentesco di costruire una
riforma del palcoscenico operistico
in Italia, vagheggiata al tempo da
numerosi intellettuali
(fin da Benedetto Marcello nel 1720, ma con nuovi argomenti nel terzo quarto del secolo), che avvertivano l'esigenza di svecchiare le drammaturgie del teatro musicale, basate sugli schemi rigidi del recitativo e aria metastasiani e sul predominio dei cantanti, le cui bizzarrie vocali finivano per sovrastare la verosimiglianza delle azioni drammaturgiche.
Inserito in un fitto dialogo con alcuni intellettuali dell'epoca, fra cui Francesco Algarotti, che era fra quelli di punta nelle richieste di un rinnovamento dell'opera in musica, il primo ministro del Ducato di Parma e Piacenza, G. Tillot, studiò un'operazione basata sulla commistione strutturale fra opera italiana e tragédie-lyrique francese.
In pratica si trattò alla fine di estendere la struttura dell'opera italiana da tre a cinque atti, ingrossando i cori e inserendo danze come nell'opera seria in uso a Parigi.
Per il soggetto la scelta cadde sul libretto di Simon-Joseph Pellegrin, tratto dalla Fedra di Jean Racine, musicato nel 1733 da Jean-Philippe Rameau a Parigi, della cui traduzione italiana fu incaricato l'abate Carlo Innocenzo Frugoni.
Per la musica fu contattato un giovane compositore pugliese,
Traetta, che fino a quel momento aveva mosso pochi
passi nella carriera teatrale.
L'operazione di Tillot mirava chiaramente ad attirare l'attenzione europea sul piccolo ducato, e a gestire il teatro attraverso un impresariato di corte diretto, agendo sui privilegiati rapporti con la Francia.
Il duca don Filippo di Borbone aveva sposato la figlia di Luigi XV e da tempo stazionavano a Parma musicisti francesi, fra cui Jean-Philippe Mangot, cognato di Rameau.
Il successo dell'opera di Traetta fu vistoso, per quanto breve.
Riuscì però a procurare a Tillot quell'attenzione che cercava, facendo parlare del teatro di Parma a mezza Europa.
Con gli stessi elementi (Frugoni, Traetta e la Gabrielli) ripeterà il tentativo l'anno successivo con I Tindaridi, modellato sul Castor et Pollux sempre di Rameau.
Musicalmente, "Ippolito e Aricia" non presenta clamorose novità.
La musica dei balletti, affidata di solito a un compositore di secondo piano, fu invece appaltata allo stesso Traetta, che in realtà riciclò quasi tutti quelli di Rameau.
L'orchestrazione variopinta di Rameau fu mitigata da Traetta secondo gli usi italiani, a parte una restituita autonomia al movimento delle viole e l'unificazione tematica delle danze con le arie adiacenti.
In realtà l'idea di unire le due strutture operistiche italiana e francese non avrebbe potuto avere grande fortuna estetica, troppo diverse erano le nature e le finalità comunicative dei due tipi di spettacolo, né l'opera francese avrebbe potuto aiutare quella italiana sulla strada di una verosimiglianza drammaturgica a cui l'opera francese stessa non credeva e non ha mai mirato.
Lo scopo drammaturgico era in fondo modesto, mantenere la centralità dell'aria italiana e rimpolpare il palcoscenico dal punto di vista dello spettacolo, il che dimostra il vero intento di Tillot.
Il successo fu quindi più mediatico che artistico, ma valse lo stesso a stimolare molte piazze italiane a lavorare sul teatro musicale come presupposto pubblicitario ed economico per le corti che li finanziavano.
Traetta ne ricavò un indubbio vantaggio in termini di immagine, visto che fu da allora che la sua carriera decollò a livello internazionale, grazie anche al binomio con la Gabrielli che divenne la sua cantante di riferimento.
È con difficoltà che opere come questa vengono oggi riproposte, per la rarità delle caratteristiche vocali maschili a sostenere parti da soprano in origine scritte per castrati.
Qui si aggiungono anche due arie in cui l'estensione arriva ad impervie altezze.
Per poterle rappresentare recentemente si è usato l'espediente dell'adattamento alle voci disponibili.
La prima rappresentazione moderna di Ippolito e Aricia è stata data nel 1999 con il Angelo Manzotti nel ruolo di Ippolito al Festival della Valle d'Itria di Martina Franca.
Nel 2002 Christophe Rousset con l'Orchestra di Montpellier e, tra gli altri, Patrizia Ciofi nel ruolo di Aricia, ne ha realizzato la seconda ripresa.
Entrambe le esecuzioni sono reperibili in cd.
Bibliografia
Marco Russo, "Tommaso Traetta: i Libretti della Riforma"
Parma 1759-61, Facoltà di Lettere di Trento, Trento 2005.
Marco Russo,
"Tommaso Traetta"
Edizioni S. Marco dei Giustiniani, Genova 2006.
Reinhard Strohm,
L'opera italiana, Marsilio, Venezia, 1991.
Monday, October 10, 2011
Tracks CD Traetta, "Ippolito"
Speranza
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Track 1
Act I: Sinfonia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:09 1.99
Act I Scene 1: Recitative:
Oh di tranquilla pace amabil sese (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:34 0.99
Act I Scene 2: Recitative: Che veggio? e quali, Principessa, oh Dio! (Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:42 0.99
Act I Scene 2: Aria: Se ai vaghi lumi tuoi cara m'accese cara m'accese amore (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 10:38 2.99
Act I Scene 3: Soggiorno amabile di bella pace (Chorus of Priestesses)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:44 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Conductor | Orchestra Internazionale d'Italia-Orchestra 1:46 0.99
Act I Scene 3: Aria: Fuggi amor, perfido amore: che fan qui che fan qui le tue saette? (High Priestess)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Allegretta, Sara-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:07 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:05 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:28 0.99
Act I Scene 4: Recitative: Giusto ciel! con Aricia, ultimo di Pallante odioso avanzo (Fedra, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:54 0.99
Act I Scene 4: Un cor, che oppresso liberta perdeo (Chorus of Priestesses, Fedra, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Manzotti, Angelo-Classical Artist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:42 0.99
Act I Scene 4: Recitative: Del ciel Numi immortali, tonate sulla terra (High Priestess, Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Allegretta, Sara-Classical Artist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:30 0.99
Act I Scene 4: Tonnerre
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:05 0.99
Act I Scene 5: Recitative: Belle seguaci mie, voi, che si sagge e tranquille vivete (Diana, Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:32 0.99
Act I Scene 5: Aria: Se vede rapace girare l'artiglio (Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:20 1.99
Act I Scene 6: Recitative: E che? contro me dunque e terra e cielo congiura armato e il mio poter contrasta? (Fedra, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:58 0.99
Act I Scene 6: Aria: Furie del cor geloso (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:39 0.99
Act I Scene 7: Recitative: Eterni dei, che sconsigliato ardire! (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:38 0.99
Act I Scene 7: Aria: Prendi, Amor, prendi pietoso le sembianze della speme (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 13:57 2.99
Act I Scene 7: Dance of Fauns and Dryads
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:43 1.99
DISC 2
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act II Scene 1: Recitative: Lasciami respirar, fiera d'Averno implacabile Dea (Teseo, Tisifone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Sesto, Monica-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:53 0.99
Act II Scene 2: Recitative: Inesorabil re dell'ombre eterne (Teseo, Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:35 0.99
Act II Scene 3: Aria: Per onor dell'offeso mio regno (Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:54 0.99
Act II Scene 3: Dance of Divinities
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:30 0.99
Act II Scene 3: Plutone il chiede: Pluton si vendichi (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:50 0.99
Act II Scene 3: Dance of Divinities
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:29 0.99
Act II Scene 4: Recitative: Dei, che sedi son queste di pianto e di terror! (Teseo, Tisifone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Sesto, Monica-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:03 0.99
Act II Scene 5: Recitative: Il dio dei vasti mari a te, sovrano della tartarea sede (Mercurio, Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Fiore, Saverio-Classical Artist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:52 0.99
Act II Scene 5: Duet: Va sventurato (The 2 Parcae)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Todisco, Madia-Classical Artist | Cinieri, Loredana-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:55 0.99
Act II Scene 6: Recitative: Ciel che ascoltai? (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:32 0.99
Act II Scene 6: Aria: Vi lascio, v'abbandono squallide ingrate arene (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 7:14 1.99
Act II Scene 6: Sinfonia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:39 0.99
Act II Scene 6: Sparve l'empio mortal ch'a te spiacea (Chorus of Divinities)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:49 0.99
Act II Scene 6: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:24 1.99
DISC 3
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act III Scene 1: Recitative: In qual mare d'affanni (Fedra) - Scene 2: E non avra mai pace (Encone, Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:18 0.99
Act III Scene 2: Aria: Povero core che ardendo stai (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 8:13 1.99
Act III Scene 3: Recitative: Principessa, cercai pria rivederti (Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:13 0.99
Act III Scene 3: Aria: Va' dove Amor ti chiama (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 10:46 2.99
Act III Scene 4: Recitative: Signor vien la reina. Io la precedo (Enone, Ippolito) - Scene 5: Principe, udii che parti (Fedra, Ippolito) - Scene 6: Guisti Numi del ciel! (Teseo, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Manzotti, Angelo-Classical Artist | Lopez, Elena-Classical Artist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:28 0.99
Act III Scene 6: Aria: Deh! Questo cor lasciate (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:36 1.99
Act III Scene 7: Recitative: Come fugge turbato! (Teseo, Fedra) - Scene 8: E che? (Teseo, Enone) - Scene 9: Favorevole dio, che all'onde imperi (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Lopez, Elena-Classical Artist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:31 0.99
Act III Scene 9: Aria: A funestarmi il ciglio tutto tutto diventa orrore (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:03 1.99
Act III Scene 9: Dio del mar, de' plausi tuoi (Chorus of People and Sailors)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:02 0.99
Act III Scene 9: Dance of Sailors
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Orchestra | Orchestra Internazionale d'Italia-Conductor 1:06 0.99
Act III Scene 9: Canzonetta: Nettun sull'onde sol puo regnare (A Sailor Woman)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:56 0.99
Act III Scene 9: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Masi, Angela-Orchestra | Orchestra Internazionale d'Italia-Conductor 5:49 1.99
DISC 4
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act IV Scene 1: Recitative: Signor, io vengo a te fra i pianti miei piena il cor di spavento (Fedra, Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Classical Artist | Orchestra Internazionale d'Italia-Classical Artist | Golub, David-Orchestra | Lopez, Elena-Conductor 0:59 0.99
Act IV Scene 1: Aria: Intendimi: pavento gli die con me tiranni (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:35 0.99
Act IV Scene 2: Recitative: Padre, signor, poss'io chieder, qual nube infesta cosi turba il tuo volto? (Ippolito, Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:48 0.99
Act IV Scene 2: Aria: Padre ascolta: reo non sono (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 9:44 1.99
Act IV Scene 3: Recitative: Ah! Dissipate sommi de quest'orror, che mi circonda (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:26 0.99
Act IV Scene 3: Aria: Parli al mio cor lo sdegno (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:33 0.99
Act IV Scene 4: Recitative: Ah! cosi parti ingrato? (Aricia, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:15 0.99
Act IV Scene 4: Aria: In questo estremo addio, caro, mancar mi sento (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 9:53 1.99
Act IV Scene 5: Alla caccia, alla caccia, alla caccia, volin rapidi veltri e cavalli (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:36 0.99
Act IV Scene 5: Dance of Hunters and Huntresses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:54 0.99
Act IV Scene 5: Canzonetta: Che bel piacere, in lieta caccia (A Huntress)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Potenza, Rossana-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:08 0.99
Act IV Scene 5: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:15 0.99
Act V Scene 1: Sarai contenta alfin (Teseo, Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:21 0.99
Act V Scene 2: Dove son io? Che tardo, e come ancora sopravvivo al mio ben? (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:19 1.99
Act V Scene 3: Volate, o zefiri, l'ali agitate (Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:00 1.99
Act V Scene 4: Giusti dei! qual portento (Aricia, Ippolito, Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:14 0.99
Act V Scene 4: Final Scene: Torna la pace all'alma (Aricia, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 12:46 2.99
Act V Scene 4: Dance: Musette
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:44 0.99
Act V Scene 4: Tutto applauda al degno nodo, che il destin lassu compose (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:41 0.99
Act V Scene 4: Dance: Chaconne
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:35 0.99
Act V Scene 4: Dance: Gavotte
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Track 1
Act I: Sinfonia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:09 1.99
Act I Scene 1: Recitative:
Oh di tranquilla pace amabil sese (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:34 0.99
Act I Scene 2: Recitative: Che veggio? e quali, Principessa, oh Dio! (Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:42 0.99
Act I Scene 2: Aria: Se ai vaghi lumi tuoi cara m'accese cara m'accese amore (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 10:38 2.99
Act I Scene 3: Soggiorno amabile di bella pace (Chorus of Priestesses)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:44 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Conductor | Orchestra Internazionale d'Italia-Orchestra 1:46 0.99
Act I Scene 3: Aria: Fuggi amor, perfido amore: che fan qui che fan qui le tue saette? (High Priestess)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Allegretta, Sara-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:07 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:05 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:28 0.99
Act I Scene 4: Recitative: Giusto ciel! con Aricia, ultimo di Pallante odioso avanzo (Fedra, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:54 0.99
Act I Scene 4: Un cor, che oppresso liberta perdeo (Chorus of Priestesses, Fedra, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Manzotti, Angelo-Classical Artist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:42 0.99
Act I Scene 4: Recitative: Del ciel Numi immortali, tonate sulla terra (High Priestess, Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Allegretta, Sara-Classical Artist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:30 0.99
Act I Scene 4: Tonnerre
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:05 0.99
Act I Scene 5: Recitative: Belle seguaci mie, voi, che si sagge e tranquille vivete (Diana, Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:32 0.99
Act I Scene 5: Aria: Se vede rapace girare l'artiglio (Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:20 1.99
Act I Scene 6: Recitative: E che? contro me dunque e terra e cielo congiura armato e il mio poter contrasta? (Fedra, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:58 0.99
Act I Scene 6: Aria: Furie del cor geloso (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:39 0.99
Act I Scene 7: Recitative: Eterni dei, che sconsigliato ardire! (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:38 0.99
Act I Scene 7: Aria: Prendi, Amor, prendi pietoso le sembianze della speme (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 13:57 2.99
Act I Scene 7: Dance of Fauns and Dryads
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:43 1.99
DISC 2
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act II Scene 1: Recitative: Lasciami respirar, fiera d'Averno implacabile Dea (Teseo, Tisifone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Sesto, Monica-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:53 0.99
Act II Scene 2: Recitative: Inesorabil re dell'ombre eterne (Teseo, Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:35 0.99
Act II Scene 3: Aria: Per onor dell'offeso mio regno (Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:54 0.99
Act II Scene 3: Dance of Divinities
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:30 0.99
Act II Scene 3: Plutone il chiede: Pluton si vendichi (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:50 0.99
Act II Scene 3: Dance of Divinities
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:29 0.99
Act II Scene 4: Recitative: Dei, che sedi son queste di pianto e di terror! (Teseo, Tisifone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Sesto, Monica-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:03 0.99
Act II Scene 5: Recitative: Il dio dei vasti mari a te, sovrano della tartarea sede (Mercurio, Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Fiore, Saverio-Classical Artist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:52 0.99
Act II Scene 5: Duet: Va sventurato (The 2 Parcae)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Todisco, Madia-Classical Artist | Cinieri, Loredana-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:55 0.99
Act II Scene 6: Recitative: Ciel che ascoltai? (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:32 0.99
Act II Scene 6: Aria: Vi lascio, v'abbandono squallide ingrate arene (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 7:14 1.99
Act II Scene 6: Sinfonia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:39 0.99
Act II Scene 6: Sparve l'empio mortal ch'a te spiacea (Chorus of Divinities)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:49 0.99
Act II Scene 6: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:24 1.99
DISC 3
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act III Scene 1: Recitative: In qual mare d'affanni (Fedra) - Scene 2: E non avra mai pace (Encone, Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:18 0.99
Act III Scene 2: Aria: Povero core che ardendo stai (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 8:13 1.99
Act III Scene 3: Recitative: Principessa, cercai pria rivederti (Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:13 0.99
Act III Scene 3: Aria: Va' dove Amor ti chiama (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 10:46 2.99
Act III Scene 4: Recitative: Signor vien la reina. Io la precedo (Enone, Ippolito) - Scene 5: Principe, udii che parti (Fedra, Ippolito) - Scene 6: Guisti Numi del ciel! (Teseo, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Manzotti, Angelo-Classical Artist | Lopez, Elena-Classical Artist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:28 0.99
Act III Scene 6: Aria: Deh! Questo cor lasciate (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:36 1.99
Act III Scene 7: Recitative: Come fugge turbato! (Teseo, Fedra) - Scene 8: E che? (Teseo, Enone) - Scene 9: Favorevole dio, che all'onde imperi (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Lopez, Elena-Classical Artist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:31 0.99
Act III Scene 9: Aria: A funestarmi il ciglio tutto tutto diventa orrore (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:03 1.99
Act III Scene 9: Dio del mar, de' plausi tuoi (Chorus of People and Sailors)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:02 0.99
Act III Scene 9: Dance of Sailors
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Orchestra | Orchestra Internazionale d'Italia-Conductor 1:06 0.99
Act III Scene 9: Canzonetta: Nettun sull'onde sol puo regnare (A Sailor Woman)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:56 0.99
Act III Scene 9: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Masi, Angela-Orchestra | Orchestra Internazionale d'Italia-Conductor 5:49 1.99
DISC 4
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act IV Scene 1: Recitative: Signor, io vengo a te fra i pianti miei piena il cor di spavento (Fedra, Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Classical Artist | Orchestra Internazionale d'Italia-Classical Artist | Golub, David-Orchestra | Lopez, Elena-Conductor 0:59 0.99
Act IV Scene 1: Aria: Intendimi: pavento gli die con me tiranni (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:35 0.99
Act IV Scene 2: Recitative: Padre, signor, poss'io chieder, qual nube infesta cosi turba il tuo volto? (Ippolito, Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:48 0.99
Act IV Scene 2: Aria: Padre ascolta: reo non sono (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 9:44 1.99
Act IV Scene 3: Recitative: Ah! Dissipate sommi de quest'orror, che mi circonda (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:26 0.99
Act IV Scene 3: Aria: Parli al mio cor lo sdegno (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:33 0.99
Act IV Scene 4: Recitative: Ah! cosi parti ingrato? (Aricia, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:15 0.99
Act IV Scene 4: Aria: In questo estremo addio, caro, mancar mi sento (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 9:53 1.99
Act IV Scene 5: Alla caccia, alla caccia, alla caccia, volin rapidi veltri e cavalli (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:36 0.99
Act IV Scene 5: Dance of Hunters and Huntresses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:54 0.99
Act IV Scene 5: Canzonetta: Che bel piacere, in lieta caccia (A Huntress)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Potenza, Rossana-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:08 0.99
Act IV Scene 5: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:15 0.99
Act V Scene 1: Sarai contenta alfin (Teseo, Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:21 0.99
Act V Scene 2: Dove son io? Che tardo, e come ancora sopravvivo al mio ben? (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:19 1.99
Act V Scene 3: Volate, o zefiri, l'ali agitate (Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:00 1.99
Act V Scene 4: Giusti dei! qual portento (Aricia, Ippolito, Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:14 0.99
Act V Scene 4: Final Scene: Torna la pace all'alma (Aricia, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 12:46 2.99
Act V Scene 4: Dance: Musette
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:44 0.99
Act V Scene 4: Tutto applauda al degno nodo, che il destin lassu compose (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:41 0.99
Act V Scene 4: Dance: Chaconne
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:35 0.99
Act V Scene 4: Dance: Gavotte
Il Ippolito di Traetta
Speranza
TRAETTA: Ippolito ed Aricia
Composer: Traetta, Tommaso
Artists:
Grassi, Luca, baritone • Bratislava Chamber Choir, Choir • Golub, David, Conductor • Manzotti, Angelo, counter-tenor • Miccoli, Maria, mezzo-soprano • Sesto, Monica, mezzo-soprano • Orchestra Internazionale d'Italia • Masi, Angela, soprano • Lopez, Elena, soprano • Cinieri, Loredana, soprano • Todisco, Madia, soprano • Ciofi, Patrizia, soprano • Potenza, Rossana, soprano • Allegretta, Sara, soprano • Fiore, Saverio, tenor • Edwards, Simon, tenor • Donzelli, Stefania, tenor
Period(s) Classical (1750-1830)
Genre Classical Music
Category Opera
Catalogue Dynamic CDS257
Quality 320kbps
TRAETTA: Ippolito ed Aricia 3:59:10
DISC 1
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act I: Sinfonia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:09
Act I Scene 1: Recitative:
Oh di tranquilla pace amabil sese (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:34
Act I Scene 2: Recitative:
Che veggio? e quali, Principessa, oh Dio! (Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:42 0.99
Act I Scene 2: Aria: Se ai vaghi lumi tuoi cara m'accese cara m'accese amore (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 10:38 2.99
Act I Scene 3: Soggiorno amabile di bella pace (Chorus of Priestesses)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:44 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Conductor | Orchestra Internazionale d'Italia-Orchestra 1:46 0.99
Act I Scene 3: Aria: Fuggi amor, perfido amore: che fan qui che fan qui le tue saette? (High Priestess)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Allegretta, Sara-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:07 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:05 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:28 0.99
Act I Scene 4: Recitative: Giusto ciel! con Aricia, ultimo di Pallante odioso avanzo (Fedra, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:54 0.99
Act I Scene 4: Un cor, che oppresso liberta perdeo (Chorus of Priestesses, Fedra, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Manzotti, Angelo-Classical Artist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:42 0.99
Act I Scene 4: Recitative: Del ciel Numi immortali, tonate sulla terra (High Priestess, Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Allegretta, Sara-Classical Artist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:30 0.99
Act I Scene 4: Tonnerre
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:05 0.99
Act I Scene 5: Recitative: Belle seguaci mie, voi, che si sagge e tranquille vivete (Diana, Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:32 0.99
Act I Scene 5: Aria: Se vede rapace girare l'artiglio (Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:20 1.99
Act I Scene 6: Recitative: E che? contro me dunque e terra e cielo congiura armato e il mio poter contrasta? (Fedra, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:58 0.99
Act I Scene 6: Aria: Furie del cor geloso (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:39 0.99
Act I Scene 7: Recitative: Eterni dei, che sconsigliato ardire! (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:38 0.99
Act I Scene 7: Aria: Prendi, Amor, prendi pietoso le sembianze della speme (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 13:57 2.99
Act I Scene 7: Dance of Fauns and Dryads
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:43 1.99
DISC 2
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act II Scene 1: Recitative: Lasciami respirar, fiera d'Averno implacabile Dea (Teseo, Tisifone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Sesto, Monica-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:53 0.99
Act II Scene 2: Recitative: Inesorabil re dell'ombre eterne (Teseo, Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:35 0.99
Act II Scene 3: Aria: Per onor dell'offeso mio regno (Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:54 0.99
Act II Scene 3: Dance of Divinities
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:30 0.99
Act II Scene 3: Plutone il chiede: Pluton si vendichi (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:50 0.99
Act II Scene 3: Dance of Divinities
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:29 0.99
Act II Scene 4: Recitative: Dei, che sedi son queste di pianto e di terror! (Teseo, Tisifone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Sesto, Monica-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:03 0.99
Act II Scene 5: Recitative: Il dio dei vasti mari a te, sovrano della tartarea sede (Mercurio, Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Fiore, Saverio-Classical Artist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:52 0.99
Act II Scene 5: Duet: Va sventurato (The 2 Parcae)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Todisco, Madia-Classical Artist | Cinieri, Loredana-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:55 0.99
Act II Scene 6: Recitative: Ciel che ascoltai? (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:32 0.99
Act II Scene 6: Aria: Vi lascio, v'abbandono squallide ingrate arene (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 7:14 1.99
Act II Scene 6: Sinfonia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:39 0.99
Act II Scene 6: Sparve l'empio mortal ch'a te spiacea (Chorus of Divinities)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:49 0.99
Act II Scene 6: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:24 1.99
DISC 3
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act III Scene 1: Recitative: In qual mare d'affanni (Fedra) - Scene 2: E non avra mai pace (Encone, Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:18 0.99
Act III Scene 2: Aria: Povero core che ardendo stai (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 8:13 1.99
Act III Scene 3: Recitative: Principessa, cercai pria rivederti (Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:13 0.99
Act III Scene 3: Aria: Va' dove Amor ti chiama (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 10:46 2.99
Act III Scene 4: Recitative: Signor vien la reina. Io la precedo (Enone, Ippolito) - Scene 5: Principe, udii che parti (Fedra, Ippolito) - Scene 6: Guisti Numi del ciel! (Teseo, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Manzotti, Angelo-Classical Artist | Lopez, Elena-Classical Artist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:28 0.99
Act III Scene 6: Aria: Deh! Questo cor lasciate (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:36 1.99
Act III Scene 7: Recitative: Come fugge turbato! (Teseo, Fedra) - Scene 8: E che? (Teseo, Enone) - Scene 9: Favorevole dio, che all'onde imperi (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Lopez, Elena-Classical Artist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:31 0.99
Act III Scene 9: Aria: A funestarmi il ciglio tutto tutto diventa orrore (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:03 1.99
Act III Scene 9: Dio del mar, de' plausi tuoi (Chorus of People and Sailors)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:02 0.99
Act III Scene 9: Dance of Sailors
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Orchestra | Orchestra Internazionale d'Italia-Conductor 1:06 0.99
Act III Scene 9: Canzonetta: Nettun sull'onde sol puo regnare (A Sailor Woman)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:56 0.99
Act III Scene 9: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Masi, Angela-Orchestra | Orchestra Internazionale d'Italia-Conductor 5:49 1.99
DISC 4
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act IV Scene 1: Recitative: Signor, io vengo a te fra i pianti miei piena il cor di spavento (Fedra, Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Classical Artist | Orchestra Internazionale d'Italia-Classical Artist | Golub, David-Orchestra | Lopez, Elena-Conductor 0:59 0.99
Act IV Scene 1: Aria: Intendimi: pavento gli die con me tiranni (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:35 0.99
Act IV Scene 2: Recitative: Padre, signor, poss'io chieder, qual nube infesta cosi turba il tuo volto? (Ippolito, Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:48 0.99
Act IV Scene 2: Aria: Padre ascolta: reo non sono (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 9:44 1.99
Act IV Scene 3: Recitative: Ah! Dissipate sommi de quest'orror, che mi circonda (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:26 0.99
Act IV Scene 3: Aria: Parli al mio cor lo sdegno (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:33 0.99
Act IV Scene 4: Recitative: Ah! cosi parti ingrato? (Aricia, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:15 0.99
Act IV Scene 4: Aria: In questo estremo addio, caro, mancar mi sento (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 9:53 1.99
Act IV Scene 5: Alla caccia, alla caccia, alla caccia, volin rapidi veltri e cavalli (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:36 0.99
Act IV Scene 5: Dance of Hunters and Huntresses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:54 0.99
Act IV Scene 5: Canzonetta: Che bel piacere, in lieta caccia (A Huntress)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Potenza, Rossana-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:08 0.99
Act IV Scene 5: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:15 0.99
Act V Scene 1: Sarai contenta alfin (Teseo, Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:21 0.99
Act V Scene 2: Dove son io? Che tardo, e come ancora sopravvivo al mio ben? (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:19 1.99
Act V Scene 3: Volate, o zefiri, l'ali agitate (Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:00 1.99
Act V Scene 4: Giusti dei! qual portento (Aricia, Ippolito, Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:14 0.99
Act V Scene 4: Final Scene: Torna la pace all'alma (Aricia, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 12:46 2.99
Act V Scene 4: Dance: Musette
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:44 0.99
Act V Scene 4: Tutto applauda al degno nodo, che il destin lassu compose (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:41 0.99
Act V Scene 4: Dance: Chaconne
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:35 0.99
Act V Scene 4: Dance: Gavotte
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:33 0.99
Total Selected Album Items ( 0 ) Sub-Total Amount
TRAETTA: Ippolito ed Aricia
Composer: Traetta, Tommaso
Artists:
Grassi, Luca, baritone • Bratislava Chamber Choir, Choir • Golub, David, Conductor • Manzotti, Angelo, counter-tenor • Miccoli, Maria, mezzo-soprano • Sesto, Monica, mezzo-soprano • Orchestra Internazionale d'Italia • Masi, Angela, soprano • Lopez, Elena, soprano • Cinieri, Loredana, soprano • Todisco, Madia, soprano • Ciofi, Patrizia, soprano • Potenza, Rossana, soprano • Allegretta, Sara, soprano • Fiore, Saverio, tenor • Edwards, Simon, tenor • Donzelli, Stefania, tenor
Period(s) Classical (1750-1830)
Genre Classical Music
Category Opera
Catalogue Dynamic CDS257
Quality 320kbps
TRAETTA: Ippolito ed Aricia 3:59:10
DISC 1
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act I: Sinfonia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:09
Act I Scene 1: Recitative:
Oh di tranquilla pace amabil sese (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:34
Act I Scene 2: Recitative:
Che veggio? e quali, Principessa, oh Dio! (Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:42 0.99
Act I Scene 2: Aria: Se ai vaghi lumi tuoi cara m'accese cara m'accese amore (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 10:38 2.99
Act I Scene 3: Soggiorno amabile di bella pace (Chorus of Priestesses)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:44 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Conductor | Orchestra Internazionale d'Italia-Orchestra 1:46 0.99
Act I Scene 3: Aria: Fuggi amor, perfido amore: che fan qui che fan qui le tue saette? (High Priestess)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Allegretta, Sara-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:07 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:05 0.99
Act I Scene 3: Dance of Priestesses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:28 0.99
Act I Scene 4: Recitative: Giusto ciel! con Aricia, ultimo di Pallante odioso avanzo (Fedra, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:54 0.99
Act I Scene 4: Un cor, che oppresso liberta perdeo (Chorus of Priestesses, Fedra, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Manzotti, Angelo-Classical Artist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:42 0.99
Act I Scene 4: Recitative: Del ciel Numi immortali, tonate sulla terra (High Priestess, Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Allegretta, Sara-Classical Artist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:30 0.99
Act I Scene 4: Tonnerre
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:05 0.99
Act I Scene 5: Recitative: Belle seguaci mie, voi, che si sagge e tranquille vivete (Diana, Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:32 0.99
Act I Scene 5: Aria: Se vede rapace girare l'artiglio (Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:20 1.99
Act I Scene 6: Recitative: E che? contro me dunque e terra e cielo congiura armato e il mio poter contrasta? (Fedra, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:58 0.99
Act I Scene 6: Aria: Furie del cor geloso (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:39 0.99
Act I Scene 7: Recitative: Eterni dei, che sconsigliato ardire! (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:38 0.99
Act I Scene 7: Aria: Prendi, Amor, prendi pietoso le sembianze della speme (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 13:57 2.99
Act I Scene 7: Dance of Fauns and Dryads
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:43 1.99
DISC 2
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act II Scene 1: Recitative: Lasciami respirar, fiera d'Averno implacabile Dea (Teseo, Tisifone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Sesto, Monica-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:53 0.99
Act II Scene 2: Recitative: Inesorabil re dell'ombre eterne (Teseo, Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:35 0.99
Act II Scene 3: Aria: Per onor dell'offeso mio regno (Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:54 0.99
Act II Scene 3: Dance of Divinities
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:30 0.99
Act II Scene 3: Plutone il chiede: Pluton si vendichi (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:50 0.99
Act II Scene 3: Dance of Divinities
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:29 0.99
Act II Scene 4: Recitative: Dei, che sedi son queste di pianto e di terror! (Teseo, Tisifone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Sesto, Monica-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:03 0.99
Act II Scene 5: Recitative: Il dio dei vasti mari a te, sovrano della tartarea sede (Mercurio, Plutone)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Fiore, Saverio-Classical Artist | Grassi, Luca-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:52 0.99
Act II Scene 5: Duet: Va sventurato (The 2 Parcae)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Todisco, Madia-Classical Artist | Cinieri, Loredana-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:55 0.99
Act II Scene 6: Recitative: Ciel che ascoltai? (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:32 0.99
Act II Scene 6: Aria: Vi lascio, v'abbandono squallide ingrate arene (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 7:14 1.99
Act II Scene 6: Sinfonia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:39 0.99
Act II Scene 6: Sparve l'empio mortal ch'a te spiacea (Chorus of Divinities)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:49 0.99
Act II Scene 6: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:24 1.99
DISC 3
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act III Scene 1: Recitative: In qual mare d'affanni (Fedra) - Scene 2: E non avra mai pace (Encone, Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:18 0.99
Act III Scene 2: Aria: Povero core che ardendo stai (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 8:13 1.99
Act III Scene 3: Recitative: Principessa, cercai pria rivederti (Ippolito, Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:13 0.99
Act III Scene 3: Aria: Va' dove Amor ti chiama (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 10:46 2.99
Act III Scene 4: Recitative: Signor vien la reina. Io la precedo (Enone, Ippolito) - Scene 5: Principe, udii che parti (Fedra, Ippolito) - Scene 6: Guisti Numi del ciel! (Teseo, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Manzotti, Angelo-Classical Artist | Lopez, Elena-Classical Artist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:28 0.99
Act III Scene 6: Aria: Deh! Questo cor lasciate (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:36 1.99
Act III Scene 7: Recitative: Come fugge turbato! (Teseo, Fedra) - Scene 8: E che? (Teseo, Enone) - Scene 9: Favorevole dio, che all'onde imperi (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Lopez, Elena-Classical Artist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:31 0.99
Act III Scene 9: Aria: A funestarmi il ciglio tutto tutto diventa orrore (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 6:03 1.99
Act III Scene 9: Dio del mar, de' plausi tuoi (Chorus of People and Sailors)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Lopez, Elena-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:02 0.99
Act III Scene 9: Dance of Sailors
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Orchestra | Orchestra Internazionale d'Italia-Conductor 1:06 0.99
Act III Scene 9: Canzonetta: Nettun sull'onde sol puo regnare (A Sailor Woman)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:56 0.99
Act III Scene 9: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Masi, Angela-Orchestra | Orchestra Internazionale d'Italia-Conductor 5:49 1.99
DISC 4
Ippolito ed Aricia
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-counter-tenor | Ciofi, Patrizia-soprano | Lopez, Elena-soprano | Edwards, Simon-tenor | Miccoli, Maria-mezzo-soprano | Donzelli, Stefania-tenor | Grassi, Luca-baritone | Sesto, Monica-mezzo-soprano | Fiore, Saverio-tenor | Allegretta, Sara-soprano | Masi, Angela-soprano | Potenza, Rossana-soprano | Todisco, Madia-soprano | Cinieri, Loredana-soprano | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor
Act IV Scene 1: Recitative: Signor, io vengo a te fra i pianti miei piena il cor di spavento (Fedra, Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Golub, David-Classical Artist | Orchestra Internazionale d'Italia-Classical Artist | Golub, David-Orchestra | Lopez, Elena-Conductor 0:59 0.99
Act IV Scene 1: Aria: Intendimi: pavento gli die con me tiranni (Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:35 0.99
Act IV Scene 2: Recitative: Padre, signor, poss'io chieder, qual nube infesta cosi turba il tuo volto? (Ippolito, Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Edwards, Simon-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:48 0.99
Act IV Scene 2: Aria: Padre ascolta: reo non sono (Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 9:44 1.99
Act IV Scene 3: Recitative: Ah! Dissipate sommi de quest'orror, che mi circonda (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:26 0.99
Act IV Scene 3: Aria: Parli al mio cor lo sdegno (Teseo)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Miccoli, Maria-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 4:33 0.99
Act IV Scene 4: Recitative: Ah! cosi parti ingrato? (Aricia, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:15 0.99
Act IV Scene 4: Aria: In questo estremo addio, caro, mancar mi sento (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 9:53 1.99
Act IV Scene 5: Alla caccia, alla caccia, alla caccia, volin rapidi veltri e cavalli (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:36 0.99
Act IV Scene 5: Dance of Hunters and Huntresses
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:54 0.99
Act IV Scene 5: Canzonetta: Che bel piacere, in lieta caccia (A Huntress)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Potenza, Rossana-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:08 0.99
Act IV Scene 5: Dance
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 3:15 0.99
Act V Scene 1: Sarai contenta alfin (Teseo, Fedra)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Edwards, Simon-Classical Artist | Lopez, Elena-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:21 0.99
Act V Scene 2: Dove son io? Che tardo, e come ancora sopravvivo al mio ben? (Aricia)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:19 1.99
Act V Scene 3: Volate, o zefiri, l'ali agitate (Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 5:00 1.99
Act V Scene 4: Giusti dei! qual portento (Aricia, Ippolito, Diana)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Donzelli, Stefania-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 1:14 0.99
Act V Scene 4: Final Scene: Torna la pace all'alma (Aricia, Ippolito)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Ciofi, Patrizia-Classical Artist | Manzotti, Angelo-Classical Artist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 12:46 2.99
Act V Scene 4: Dance: Musette
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:44 0.99
Act V Scene 4: Tutto applauda al degno nodo, che il destin lassu compose (Chorus)
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Bratislava Chamber Choir-Choir | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 0:41 0.99
Act V Scene 4: Dance: Chaconne
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:35 0.99
Act V Scene 4: Dance: Gavotte
Traetta, Tommaso-Classical Composer | Frugoni, Carlo Innocenzo-Lyricist | Orchestra Internazionale d'Italia-Orchestra | Golub, David-Conductor 2:33 0.99
Total Selected Album Items ( 0 ) Sub-Total Amount
Tuesday, October 4, 2011
Ippolito
Speranza
Bastard son of Theseus with Hippolyte (an Amazon). Text by Euripides. He fell in In love with her stepmother Phaedre, daughter of King Minos of Crete.
1661. Vanarelli (n. Roma, 1615, m. Padova, 1676). “F.” (Spoleto). Libretto: Montio.
1700. Torri (n. Peschiera, 1650).
1733.Hippolyte, tratto da Racine. (Rameau). Libretto: Pellegrin.
1744. “I.”. Gluck (Milano). Libretto: Gorini.
1750. Conti.
1759. “I.”, Traetta (Libretto: Frugoni). Teatro Ducale, Parma. Ippolito role created by Elisi.
1760. F. ed Ippolito (Roseingrave).
1783. Holzbauer
1786. Lemoine.
1787. Paisiello. Libretto: Salvioni (Napoli).
1790. Niccolini (n. Piacenza, 1762).
1799. Piccinni
1800. C. Cavos (n. Venezia)
1806. Romberg.
1811 Fedra (Radicati)
1814. Orlandi (n. Parma, 1777, m. 1840) (Milano, libretto Romanelli).
1815. Westmorland (Fane). “Fedra: opera seria posta in musica dal conte di Westmorland”.
1820. Fedra (S. Mayr, m. Bergamo 1845)
1836. Sborgi.
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio)
1915. Senilove.
1915. Romani (3 aprile, Costanzi, Roma) -- with Raisa, Lazzaro and Formichi; cond.: Vitale conducting; Revived at Covent Garden for Rosa Ponzillo with an added aria.
1920. Bell.
1949. Honegger
1981. Humphreys.
2000. Namann
2001. Guglielmo
2002. Drysdale.
2007. Fedra (Henze)
Bastard son of Theseus with Hippolyte (an Amazon). Text by Euripides. He fell in In love with her stepmother Phaedre, daughter of King Minos of Crete.
1661. Vanarelli (n. Roma, 1615, m. Padova, 1676). “F.” (Spoleto). Libretto: Montio.
1700. Torri (n. Peschiera, 1650).
1733.Hippolyte, tratto da Racine. (Rameau). Libretto: Pellegrin.
1744. “I.”. Gluck (Milano). Libretto: Gorini.
1750. Conti.
1759. “I.”, Traetta (Libretto: Frugoni). Teatro Ducale, Parma. Ippolito role created by Elisi.
1760. F. ed Ippolito (Roseingrave).
1783. Holzbauer
1786. Lemoine.
1787. Paisiello. Libretto: Salvioni (Napoli).
1790. Niccolini (n. Piacenza, 1762).
1799. Piccinni
1800. C. Cavos (n. Venezia)
1806. Romberg.
1811 Fedra (Radicati)
1814. Orlandi (n. Parma, 1777, m. 1840) (Milano, libretto Romanelli).
1815. Westmorland (Fane). “Fedra: opera seria posta in musica dal conte di Westmorland”.
1820. Fedra (S. Mayr, m. Bergamo 1845)
1836. Sborgi.
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio)
1915. Senilove.
1915. Romani (3 aprile, Costanzi, Roma) -- with Raisa, Lazzaro and Formichi; cond.: Vitale conducting; Revived at Covent Garden for Rosa Ponzillo with an added aria.
1920. Bell.
1949. Honegger
1981. Humphreys.
2000. Namann
2001. Guglielmo
2002. Drysdale.
2007. Fedra (Henze)
Monday, October 3, 2011
Ippolito
Speranza
"Ippolito" was the bastard son of Teseo with Ippolita, an Amazon. The
ultimate source is the tragedy by Euripides. Ippolito's claim to fame (or
infame, rather) was to fall in In love with the daughter of the king of Minos,
Fedra, who happened to be his stepmother (due to Teseo's second wedding).
Ippolito reigned in Italy under a different name. He is taken as a symbol of
chastity since utlimately, the myth suggests that his love for Fedra was not
'natural' and imposed on him as a vengeance for he having chosen, rather,
a chaste life dedicated to hunting (or riding -- a chariot).
Operas:
1661. Vanarelli -- n. Roma, 1615, m. Padova, 1676 -- (Libretto: Montio,
Spoleto). It would be interesting to see if contemporary sources, back in
Spoleto, realised that this was a _first_.
1700. Torri (n. Peschiera, 1650).
1733. Rameau. Libretto: via Pellegrin, tratto da Racine. Ippolito "is found
alive after his session with the monster and trots off happily with A".
1744. Gluck (Libretto: Gorini, Milano).
1750. Conti.
1759. Traetta (Libretto: Frugoni, Teatro Ducale, Parma). Ippolito role
created by castrato Elisi. (Hancock suggests that possibly all early Ippolitos
were castrati. L. Smerillo goes on to add that perhaps Fedra's role was
also a castrato role, originally.
1760. Roseingrave -- n. Ireland -- a composer gone mad, R. H. tells us.
1783. Holzbauer
1786. Lemoyne. (Oddly, this is the same name as the sculptor of the statue,
"La caduta d'Ippolito" at the Louvre).
1787. Paisiello (Libretto: Salvioni, Napoli).
1790. Niccolini (n. Piacenza, 1762).
1799. Piccinni
1800. C. Cavos (n. Venezia)
1806. Romberg.
1811. Radicati
1814. Orlandi -- n. Parma, 1777, m. 1840 (Libretto Romanelli, Milano).
1815. "Opera seria, posta in musica dal Conte di Westmorland" (real name:
Fane).
1820. Mayr -- m. Bergamo 1845.
1836. Sborgi.
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio),. Also Senilov.
1920. Bell.
1949. Honegger
1976. Britten. Strictly a 'cantata', but perhaps meant as an opera,
originally. Created for la Baker.
1981. Humphreys.
2000. Namann
2001. Guglielmo
2002. Drysdale.
2007. Henze.
"Ippolito" was the bastard son of Teseo with Ippolita, an Amazon. The
ultimate source is the tragedy by Euripides. Ippolito's claim to fame (or
infame, rather) was to fall in In love with the daughter of the king of Minos,
Fedra, who happened to be his stepmother (due to Teseo's second wedding).
Ippolito reigned in Italy under a different name. He is taken as a symbol of
chastity since utlimately, the myth suggests that his love for Fedra was not
'natural' and imposed on him as a vengeance for he having chosen, rather,
a chaste life dedicated to hunting (or riding -- a chariot).
Operas:
1661. Vanarelli -- n. Roma, 1615, m. Padova, 1676 -- (Libretto: Montio,
Spoleto). It would be interesting to see if contemporary sources, back in
Spoleto, realised that this was a _first_.
1700. Torri (n. Peschiera, 1650).
1733. Rameau. Libretto: via Pellegrin, tratto da Racine. Ippolito "is found
alive after his session with the monster and trots off happily with A".
1744. Gluck (Libretto: Gorini, Milano).
1750. Conti.
1759. Traetta (Libretto: Frugoni, Teatro Ducale, Parma). Ippolito role
created by castrato Elisi. (Hancock suggests that possibly all early Ippolitos
were castrati. L. Smerillo goes on to add that perhaps Fedra's role was
also a castrato role, originally.
1760. Roseingrave -- n. Ireland -- a composer gone mad, R. H. tells us.
1783. Holzbauer
1786. Lemoyne. (Oddly, this is the same name as the sculptor of the statue,
"La caduta d'Ippolito" at the Louvre).
1787. Paisiello (Libretto: Salvioni, Napoli).
1790. Niccolini (n. Piacenza, 1762).
1799. Piccinni
1800. C. Cavos (n. Venezia)
1806. Romberg.
1811. Radicati
1814. Orlandi -- n. Parma, 1777, m. 1840 (Libretto Romanelli, Milano).
1815. "Opera seria, posta in musica dal Conte di Westmorland" (real name:
Fane).
1820. Mayr -- m. Bergamo 1845.
1836. Sborgi.
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio),. Also Senilov.
1920. Bell.
1949. Honegger
1976. Britten. Strictly a 'cantata', but perhaps meant as an opera,
originally. Created for la Baker.
1981. Humphreys.
2000. Namann
2001. Guglielmo
2002. Drysdale.
2007. Henze.
Ippolito
Speranza
"Ippolito" was the bastard son of Teseo with Ippolita, an Amazon. The ultimate source is the tragedy by Euripides. His claim to fame (infame?): fell in love with her stepmother, Phaedre -- the daughter of King Minos of Crete.
OPERAS on Ippolito.
1661. Vanarelli (n. Roma, 1615, m. Padova, 1676). “F.” (Spoleto). Libretto: Montio. Tenor role. Main aria: "I love Fedra".
1700. Torri (n. Peschiera, 1650).
1733. Rameau "tratto da Racine", libretto via Pellegrin.
1744. Gluck (libretto: Gorini, Milano).
1750. Conti.
1759. Traetta (Libretto: Frugoni, Teatro Ducale, Parma). Ippolito role created by Elisi.
1760. Roseingrave (n. Ireland).
1783. Holzbauer
1786. Lemoyne
1787. Paisiello (Libretto: Salvioni, Napoli).
1790. Niccolini (n. Piacenza, 1762).
1799. Piccinni
1800. C. Cavos (n. Venezia)
1806. Romberg
1811. Radicati
1814. Orlandi -- n. Parma, 1777, m. 1840 -- (libretto: Romanelli, Milano).
1815. "Opera seria", posta in musica dal Conte di Westmorland (Fane). Fane was the founder of the Royal Academy of Music. The wiki reads, "Like most aristocrats, he regarded Italy as the real source of music".
1820. Mayr -- m. Bergamo 1845.
1836. Sborgi.
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio). Also: Senilov.
1920. Bell.
1949. Honegger
1981. Humphreys.
2000. Namann
2001. Guglielmo
2002. Drysdale.
2007. Henze
"Ippolito" was the bastard son of Teseo with Ippolita, an Amazon. The ultimate source is the tragedy by Euripides. His claim to fame (infame?): fell in love with her stepmother, Phaedre -- the daughter of King Minos of Crete.
OPERAS on Ippolito.
1661. Vanarelli (n. Roma, 1615, m. Padova, 1676). “F.” (Spoleto). Libretto: Montio. Tenor role. Main aria: "I love Fedra".
1700. Torri (n. Peschiera, 1650).
1733. Rameau "tratto da Racine", libretto via Pellegrin.
1744. Gluck (libretto: Gorini, Milano).
1750. Conti.
1759. Traetta (Libretto: Frugoni, Teatro Ducale, Parma). Ippolito role created by Elisi.
1760. Roseingrave (n. Ireland).
1783. Holzbauer
1786. Lemoyne
1787. Paisiello (Libretto: Salvioni, Napoli).
1790. Niccolini (n. Piacenza, 1762).
1799. Piccinni
1800. C. Cavos (n. Venezia)
1806. Romberg
1811. Radicati
1814. Orlandi -- n. Parma, 1777, m. 1840 -- (libretto: Romanelli, Milano).
1815. "Opera seria", posta in musica dal Conte di Westmorland (Fane). Fane was the founder of the Royal Academy of Music. The wiki reads, "Like most aristocrats, he regarded Italy as the real source of music".
1820. Mayr -- m. Bergamo 1845.
1836. Sborgi.
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio). Also: Senilov.
1920. Bell.
1949. Honegger
1981. Humphreys.
2000. Namann
2001. Guglielmo
2002. Drysdale.
2007. Henze
Ippolito
Speranza
1661. Vanarelli (n. Roma, 1615, m. Padova, 1676). “F.” (Spoleto). Libretto: Montio.
1700. Torri (n. Peschiera, 1650).
1733.Hippolyte, tratto da Racine. (Rameau). Libretto: Pellegrin.
1744. “I.”. Gluck (Milano). Libretto: Gorini.
1750. Conti.
1759. “I.”, Traetta (Libretto: Frugoni). Teatro Ducale, Parma. Ippolito role created by Elisi.
1760. F. ed Ippolito (Roseingrave).
1783. Holzbauer
1787. Paisiello. Libretto: Salvioni (Napoli).
1789. Lemoine.
1790. Niccolini (n. Piacenza, 1762).
1799. Piccinni
1800. C. Cavos (n. Venezia)
1806. Romberg.
1811 Fedra (Radicati)
1814. Orlandi (n. Parma, 1777, m. 1840) (Milano, libretto Romanelli).
1815. Westmorland (Fane). “Fedra: opera seria posta in musica dal conte di Westmorland”.
1820. Fedra (S. Mayr, m. Bergamo 1845)
1836. Sborgi.
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio)
1949. Honegger
2000. Namann
2001. Guglielmo
2007. Fedra (Henze)
1661. Vanarelli (n. Roma, 1615, m. Padova, 1676). “F.” (Spoleto). Libretto: Montio.
1700. Torri (n. Peschiera, 1650).
1733.Hippolyte, tratto da Racine. (Rameau). Libretto: Pellegrin.
1744. “I.”. Gluck (Milano). Libretto: Gorini.
1750. Conti.
1759. “I.”, Traetta (Libretto: Frugoni). Teatro Ducale, Parma. Ippolito role created by Elisi.
1760. F. ed Ippolito (Roseingrave).
1783. Holzbauer
1787. Paisiello. Libretto: Salvioni (Napoli).
1789. Lemoine.
1790. Niccolini (n. Piacenza, 1762).
1799. Piccinni
1800. C. Cavos (n. Venezia)
1806. Romberg.
1811 Fedra (Radicati)
1814. Orlandi (n. Parma, 1777, m. 1840) (Milano, libretto Romanelli).
1815. Westmorland (Fane). “Fedra: opera seria posta in musica dal conte di Westmorland”.
1820. Fedra (S. Mayr, m. Bergamo 1845)
1836. Sborgi.
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio)
1949. Honegger
2000. Namann
2001. Guglielmo
2007. Fedra (Henze)
Ippolito
Speranza
1661. Vanarelli (n. Roma, 1615, m. Padova, 1676). “F.” (Spoleto). Libretto: Montio.
1733.Hippolyte, tratto da Racine. (Rameau). Libretto: Pellegrin.
1744. “I.”. Gluck (Milano). Libretto: Gorini.
1759. “I.”, Traetta (Libretto: Frugoni). Teatro Ducale, Parma. Ippolito role created by Elisi.
1760. F. ed Ippolito (Roseingrave).
1787. Paisiello. Libretto: Salvioni (Napoli).
1789. Lemoine.
1800. C. Cavos (n. Venezia)
1806. Romberg.
1811. Fedra (Radicati)
1814. Orlandi (n. Parma, 1777, m. 1840) (Milano, libretto Romanelli).
1820. Fedra (S. Mayr, m. Bergamo 1845)
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio)
1949. Honegger
2007. Fedra (Henze)
1661. Vanarelli (n. Roma, 1615, m. Padova, 1676). “F.” (Spoleto). Libretto: Montio.
1733.Hippolyte, tratto da Racine. (Rameau). Libretto: Pellegrin.
1744. “I.”. Gluck (Milano). Libretto: Gorini.
1759. “I.”, Traetta (Libretto: Frugoni). Teatro Ducale, Parma. Ippolito role created by Elisi.
1760. F. ed Ippolito (Roseingrave).
1787. Paisiello. Libretto: Salvioni (Napoli).
1789. Lemoine.
1800. C. Cavos (n. Venezia)
1806. Romberg.
1811. Fedra (Radicati)
1814. Orlandi (n. Parma, 1777, m. 1840) (Milano, libretto Romanelli).
1820. Fedra (S. Mayr, m. Bergamo 1845)
1898. Federman (libretto: Pohl).
1900. Massenet
1915. Pizzetti (libretto: D’Annunzio)
1949. Honegger
2007. Fedra (Henze)
Wednesday, September 7, 2011
Campanini--Lohengrin
Speranza
The story of Lohengrin is as old as the thirteenth century.
Wagner says it is
"no mere outcome of Christian meditation, but one of man’s earliest poetic ideals."
Just as the composer traced the myth of the "Flying Dutchman" to the Hellenic Odyssey, and found in Ulysses the prototype of Tannhäuser, "so do we," he said, "already meet in the Grecian mythos the outlines of the myth of Lohengrin."
Zeus and Semele, Eros, and Psyche, Elsa and Lohengrin -- all, Wagner insists, stand for the same old story, the necessity of love.
The woman for whom the Flying Dutchman yearned, from out the ocean of his misery.
The woman who, star-like, showed to Tannhäuser the way that led from the hot passion of the Venusberg to Heaven.
The woman who drew Lohengrin from sunny heights to the depths of earth’s warm breast -- woman, woman: all yearned for woman, for the human heart.
Lohengrin's Arrival in Brabant.
Source: Illustrierte Literaturgeschichte, by Otto von Leixner (Leipzig 1880).
Wagner goes a long way back for the origin of the story.
We need not follow him.
It is sufficient to say that the legend of Lohengrin, son of Parsifal, exists in many forms, and can be traced to several sources.
The old Celtic legend of King Arthur and his knights and the story of the Holy Grail are mixed up with the purely German myth of the knight who arrives in a boat drawn by a swan.
It is important, however, to know something of the tradition of the Grail.
The Holy Grail, symbol of the supra-sensual, is the vessel in which Joseph of Arimathea caught the last drops of Christ’s blood upon the cross.
According to the tradition followed
by Wagner, it is in the keeping of Parsifal,
the lord of the sacred palace of Montsalvat,
whose son Lohengrin is.
Lohengrin is one of the earthly champions of the Grail, and the tradition has thus a prominent place in Wagner’s drama.
One may put it something like this.
The Holy Grail is the fountain of divine love.
Its knights (Lohengrin and the rest) are sent to shed some of that love on earth by redressing wrongs and fostering righteousness.
But they may dwell only where there is purity of heart and perfect faith in their power.
Elsa, at first innocent and trustful, begins to harbour suspicious of Lohengrin, and therefore loses him.
It is the familiar idea of salvation through faith.
As soon as we begin to distrust, we are undone.
I have described the ending of "Lohengrin" as sad.
But it seems also inevitable.
The good angel of the human soul, says a modern writer, in effect, is its ideal.
If it is called upon, it will come.
But if the imprudent Psyche (in this case Elsa) doubts it and its divine message, immediately the angel veils its face and disappears.
In the tragedy of Lohengrin’s character and situation Wagner saw, with clearest sureness, the type of the only absolute tragedy.
In fine, of the tragic element of modern life.
A tragedy, too, of just as great significant for the present age as was the "Antigone" -- though in another relation -- for the life of the Hellenic State.
Lohengrin, he says, "sought a woman who should trust in him, who should not ask how he was hight or whence he came, but love him as he was, and because he was whate’er she deemed him.
He sought the woman who would not call for explanation or defence, but who should love him with an unconditioned love.
Therefore must he cloak his higher nature, for only in the non-revealing of this higher essence could there lie the surety that he was not adored because of it alone, or humbly worshipped as a being past all understanding-whereas his longing was not for worship nor for adoration, but for the only things sufficient to redeem him from his loneliness, to still his deep desire for Love, for being loved, for being understood through love."
"Lohengrin" has not the human interest of "Tannhäuser," but the psychological treatment of its characters is far more subtle.
Liszt emphasises the "grandiose scale" on which it is conceived, and grandiose it unquestionably is.
It represents a drama the most complete, the most skilled, of the highest literary finish.
The masterly originality of its style, the beauty of its versification, the ingenious arrangement of its plot, its eloquent passion.
There it stands a work of its kind, unique, unapproachable.
The story of Lohengrin is as old as the thirteenth century.
Wagner says it is
"no mere outcome of Christian meditation, but one of man’s earliest poetic ideals."
Just as the composer traced the myth of the "Flying Dutchman" to the Hellenic Odyssey, and found in Ulysses the prototype of Tannhäuser, "so do we," he said, "already meet in the Grecian mythos the outlines of the myth of Lohengrin."
Zeus and Semele, Eros, and Psyche, Elsa and Lohengrin -- all, Wagner insists, stand for the same old story, the necessity of love.
The woman for whom the Flying Dutchman yearned, from out the ocean of his misery.
The woman who, star-like, showed to Tannhäuser the way that led from the hot passion of the Venusberg to Heaven.
The woman who drew Lohengrin from sunny heights to the depths of earth’s warm breast -- woman, woman: all yearned for woman, for the human heart.
Lohengrin's Arrival in Brabant.
Source: Illustrierte Literaturgeschichte, by Otto von Leixner (Leipzig 1880).
Wagner goes a long way back for the origin of the story.
We need not follow him.
It is sufficient to say that the legend of Lohengrin, son of Parsifal, exists in many forms, and can be traced to several sources.
The old Celtic legend of King Arthur and his knights and the story of the Holy Grail are mixed up with the purely German myth of the knight who arrives in a boat drawn by a swan.
It is important, however, to know something of the tradition of the Grail.
The Holy Grail, symbol of the supra-sensual, is the vessel in which Joseph of Arimathea caught the last drops of Christ’s blood upon the cross.
According to the tradition followed
by Wagner, it is in the keeping of Parsifal,
the lord of the sacred palace of Montsalvat,
whose son Lohengrin is.
Lohengrin is one of the earthly champions of the Grail, and the tradition has thus a prominent place in Wagner’s drama.
One may put it something like this.
The Holy Grail is the fountain of divine love.
Its knights (Lohengrin and the rest) are sent to shed some of that love on earth by redressing wrongs and fostering righteousness.
But they may dwell only where there is purity of heart and perfect faith in their power.
Elsa, at first innocent and trustful, begins to harbour suspicious of Lohengrin, and therefore loses him.
It is the familiar idea of salvation through faith.
As soon as we begin to distrust, we are undone.
I have described the ending of "Lohengrin" as sad.
But it seems also inevitable.
The good angel of the human soul, says a modern writer, in effect, is its ideal.
If it is called upon, it will come.
But if the imprudent Psyche (in this case Elsa) doubts it and its divine message, immediately the angel veils its face and disappears.
In the tragedy of Lohengrin’s character and situation Wagner saw, with clearest sureness, the type of the only absolute tragedy.
In fine, of the tragic element of modern life.
A tragedy, too, of just as great significant for the present age as was the "Antigone" -- though in another relation -- for the life of the Hellenic State.
Lohengrin, he says, "sought a woman who should trust in him, who should not ask how he was hight or whence he came, but love him as he was, and because he was whate’er she deemed him.
He sought the woman who would not call for explanation or defence, but who should love him with an unconditioned love.
Therefore must he cloak his higher nature, for only in the non-revealing of this higher essence could there lie the surety that he was not adored because of it alone, or humbly worshipped as a being past all understanding-whereas his longing was not for worship nor for adoration, but for the only things sufficient to redeem him from his loneliness, to still his deep desire for Love, for being loved, for being understood through love."
"Lohengrin" has not the human interest of "Tannhäuser," but the psychological treatment of its characters is far more subtle.
Liszt emphasises the "grandiose scale" on which it is conceived, and grandiose it unquestionably is.
It represents a drama the most complete, the most skilled, of the highest literary finish.
The masterly originality of its style, the beauty of its versification, the ingenious arrangement of its plot, its eloquent passion.
There it stands a work of its kind, unique, unapproachable.
"Da voi lontan in sconosciuta terra" -- More on Lohengrin in Italian
Speranza
Da voi lontan,
in sconosciuta terra
Havvi un castel,
che ha nome Monsalvato:
Là un sacro tempio una foresta serra,
Di gemme senza pari e d'oro ornato.
Ivi una coppa, che dal cielo è dono,
Guardata è qual reliqua del Signor,
A lor che di virtù campioni sono,
Un angiol la portò sull'ali d'or!
Ogni anno una colomba vien dal cielo
A rinnovar il santo suo poter!
Essa è il Santo Graal, e forza e santo zelo
Infonde in seno dei suoi cavalier.
"Lohengrin" is a romantic opera in three acts composed and written by Richard Wagner, first performed in 1850.
The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself inspired by the epic of Garin le Loherain.
It is part of the Knight of the Swan tradition.
The opera has proved inspirational towards other works of art.
Among those deeply moved by the fairy-tale opera was the young King Ludwig II of Bavaria.
'Der Märchenkönig' ('The Fairy-tale King') as he was dubbed later built his ideal fairy-tale castle and dubbed it "New Swan Stone," or "Neuschwanstein", after the Swan Knight.
It was King Ludwig's patronage that later gave Wagner the means and opportunity to compose, build a theatre for, and stage his epic cycle, the Ring of the Nibelung.
The most popular and recognizable part of the opera is the Bridal Chorus, better known as
"Here Comes the Bride",
once often played as a processional at weddings in the West.
The first production of Lohengrin was in Weimar, Germany on 28 August 1850 at the Staatskapelle Weimar under the direction of Franz Liszt, a close friend and early supporter of Wagner.
Liszt chose the date in honour of Weimar's most famous citizen, Johann Wolfgang von Goethe, who was born on 28 August 1749.
It was an immediate popular success.
The opera's first performance abroad was in Riga on 5 February 1855.
The Austrian premiere took place at the Burgtheater on 19 August 1859 with Róza Csillag as Ortrud.
The work was produced in Munich for the first time at the National Theatre on 16 June 1867 with Heinrich Vogl in the title role and Mathilde Mallinger as Elsa.
Mallinger sang Elsa again for the work's premiere at the Berlin State Opera's on 6 April 1869.
The Belgian premiere of the opera was given at La Monnaie on 22 March 1870 with Étienne Troy as Friedrich of Telramund and Feliciano Pons as Heinrich der Vogler.
The United States premiere of Lohengrin took place at the Stadt Theater at the Bowery in New York City on 3 April 1871.
Conducted by Adolf Neuendorff, the cast included Theodor Habelmann as Lohengrin, Luise Garay-Lichtmay as Elsa, Marie Frederici as Ortrud, Adolf Franosch as Heinrich and Edward Vierling as Telramund.
The first performance in Italy took place seven months later at the Teatro Comunale di Bologna on 1 November 1871 in an Italian translation by operatic baritone Salvatore Marchesi.
It was notably the first performance of any Wagner opera in Italy.
Angelo Mariani conducted the performance, which starred
Italo Campanini as "Lohengrin", Bianca Blume as Elsa, Maria Löwe Destin as Ortrud, Pietro Silenzi as Telramund, and Giuseppe Galvani as Heinrich der Vogler.
The performance on 9 November was attended by Giuseppe Verdi, who annotated a copy of the vocal score with his impressions and opinions of Wagner (this was almost certainly his first exposure to Wagner's music).
Lohengrin's Russian premiere took place at the Mariinsky Theatre on 16 October 1868.
La Scala produced the opera for the first time on 30 March 1873, with Campanini as Lohengrin, Gabrielle Krauss as Elsa, Philippine von Edelsberg as Ortrud, Victor Maurel as Friedrich, and Gian Pietro Milesi as Heinrich.
The United Kingdom premiere of Lohengrin took place at the Royal Opera House, Covent Garden on 8 May 1875 using the Italian translation by Marchesi.
Auguste Vianesi conducted the performance, which featured
Ernesto Nicolini
as Lohengrin, Emma Albani as Elsa, Anna D'Angeri as Ortruda, Maurel as Friedrich, and Wladyslaw Seideman as Heinrich.
The opera's first performance in Australia took place at the Prince of Wales Theatre in Melbourne on 18 August 1877.
The Metropolitan Opera mounted the opera for the first time on 7 November 1883 during the company's inaugural season.
Sung in Italian,
Campanini
portrayed the title role with Christina Nilsson as Elsa, Emmy Fursch-Madi as Ortrud, Giuseppe Kaschmann as Telramund, Franco Novara as Heinrich, and Auguste Vianesi conducting.
Ludwig II of Bavaria portrayed as Lohengrin below a moon with Wagners face.
Brochure in Der Floh - 1885.
Lohengrin was first publicly performed in France at the Eden-Théâtre in Paris on 30 April 1887 in a French translation by Charles-Louis-Etienne Nuitter.
Conducted by Charles Lamoureux, the performance starred Ernest van Dyck as the title hero, Fidès Devriès as Elsa, Marthe Duvivier as Ortrud, Emil Blauwaert as Telramund, and Félix-Adolphe Couturier as Heinrich.
There was however an 1881 French performance given as a Benefit, in the Cercle de la Méditerranée Salon at Nice, organized by Sophie Cruvelli, in which she took the role of Elsa.
The opera received its Canadian premiere at the opera house in Vancouver on 9 February 1891 with Emma Juch as Elsa.
The Palais Garnier staged the work for the first time the following 16 September with van Dyck as Lohengrin, Rose Caron as Elsa, Caroline Fiérens-Peters as Ortrude, Maurice Renaud as Telramund, and Charles Douaillier as Heinrich.
The first Chicago performance of the opera took place at the Auditorium Building of Roosevelt University on 9 November 1891.
Performed in Italian, the production starred Jean de Reszke as the title hero, Emma Eames as Elsa, and Edouard de Reszke as Heinrich.
The instrumentation is quite extensive for an orchestra of 1850.
The work calls for:
3 flutes (3rd doubling on piccolo), 3 oboes (3rd doubling on English horn), 3 clarinets in A, Bes and C (3rd doubling on bass clarinet in A, B-flat), 3 bassoons
4 horns in E, D, Es, C and G, 3 trumpets in E, D, Es and C, 3 trombones (2 tenor, 1 bass), 1 tuba
Violins (1 and 2), Violas, Cellos, Double basses, Harp
2 pairs of timpani, cymbals, triangle, tambourine
There are also parts for offstage and onstage instruments. They are as follows:
Onstage, in every act, but on some scenes, there are four trumpets in C.
In Act 2, first scene there is a piccolo, two flutes, three oboes, three clarinets in A, two bassoons, three horns in E and F, three trumpets in D, three trombones, timpani, and cymbals.
On the third scene, there are four extra trumpets transposed in D.
On the fifth scene, there are six other trumpets, totaling ten trumpets in C. An organ is present also in the scene.
In Act 3, during the Bridal Chorus (first scene), there are three flutes, three oboes, two clarinets in B-flat, three bassoons, four horns in B and E-flat, 2 trumpets (possibly B or E-flat), a triangle, and a harp.
At the end of the second scene, there are four trombones.
At the beginning of the third scene, there are eight more trumpets, totaling twelve from the four trumpets in C.. Their transpositions come in pairs. One pair is transposed in E-flat, another in D, other in F, and the other two trumpets in E. One or two tenor drums are also present. After, all eight trumpets are transposed in F.
[edit] Roles
Role Voice type Premiere Cast, 28 August 1850
(Conductor: Franz Liszt)
Lohengrin tenor Carl Beck
Elsa of Brabant soprano Rosa von Milde-Agthe
Ortrud, Telramund's wife mezzo-soprano Josephine Fastlinger
Friedrich of Telramund, a Count of Brabant baritone Hans von Milde
Heinrich der Vogler (Henry the Fowler) bass Höfer
The King's Herald baritone August Pätsch
Four Noblemen of Brabant tenors, basses
Four Pages sopranos, altos
Duke Gottfried, Elsa's brother silent Hellstedt
Saxon, Thuringian, and Brabantian counts and nobles, ladies of honor, pages, vassals, serfs
[edit] Synopsis
Place:
Antwerp, on the Scheldt.
Time: 10th century
Act 1
King Henry the Fowler has arrived in Brabant where he has assembled the German tribes in order to expel the Hungarians from his dominions.
He also needs to settle a dispute involving the disappearance of the child-Duke Gottfried of Brabant.
The Duke's guardian, Conte Federicco di Telramund, has accused the Duke's sister, Elsa, of murdering her brother.
He calls upon the King to punish Elsa and to make him, Telramund, the new Duke of Brabant.
The King calls for Elsa to answer Telramund's accusation.
She enters, surrounded by her attendants.
Knowing herself to be innocent, she declares that she will submit to God's judgment through ordeal by combat.
Telramund, a strong and seasoned warrior, agrees enthusiastically.
When the King asks who shall be her champion, Elsa describes a knight she has beheld in her dreams (Narrative: "Alone in dark days") and sinks to her knees, praying for God to send her relief.
Twice the Herald sounds the horn in summons, without response.
Then Elsa herself makes the call.
--------------------
A boat drawn by a swan appears on the river and in it stands a knight in shining armour.
He disembarks, dismisses the swan, respectfully greets the king, and asks Elsa if she will have him as her champion.
Elsa kneels in front of him and places her honour in his keeping.
He asks but one thing in return for his service.
She is never to ask him his name or where he has come from.
Elsa agrees to this.
Telramund's people advise him to withdraw because he cannot prevail against magic, but he proudly refuses and the combat area is prepared.
The company prays to the one "Herr und Gott" for victory for the one whose cause is just.
Telramund's wife, Ortrud, a pagan woman, does not join the prayer of the monotheists, but privately expresses confidence that Telramund will win.
The combat commences.
The unknown knight defeats Telramund but spares his life.
Taking Elsa by the hand, he declares her innocent and asks for her hand in marriage.
The crowd exits, cheering and celebrating, and Ortrud and Telramund are left to lament their defeat.
Act 2
Night in the courtyard outside the cathedral
Telramund and Ortrud, banished, listen unhappily to the distant party-music.
Ortrud, a pagan witch (daughter of Radbod Duke of Frisia), tries to revive Telramund's courage, assuring him that her people (and he) are destined to rule the kingdom again.
She plots to induce Elsa to violate the mysterious knight's only condition.
When Elsa appears on the balcony in the twilight before dawn she hears Ortrud lamenting and pities her.
While Elsa descends to open the castle door, Ortrud prays to her pagan gods, Wodan and Freia, for malice, guile, and cunning, in order to deceive Elsa and restore pagan rule to the region.
When Elsa appears, Ortrud warns her that since she knows nothing about her rescuer, he could leave her any time, as suddenly as he came.
The sun rises and the people assemble.
The Herald announces that Telramund is now outlawed due to the false trial, and anyone who follows Telramund is an outlaw by the law of the land.
In addition, he announces that the king has offered to make the unnamed knight the Duke of Brabant.
However, the Knight has declined the title, and prefers to be known only as "Leader of Brabant".
The Herald further announces that the Knight will lead the people to glorious new conquests, and will celebrate the marriage of him and Elsa.
Behind the crowd, four knights quietly express misgivings to each other.
Telramund appears, and, concealing himself from the crowd, draws these four knights aside and assures them that he will regain his position and stop the Knight, by accusing him of magic.
As Elsa and her attendants are about to enter the church, Ortrud appears, clad in magnificent attire, and challenges Elsa to tell who her husband is, and to explain why anyone should follow him.
After that, King Henry enters with the Knight.
Elsa tells both of them that Ortrud was interrupting the ceremony.
The Knight tells Ortrud to fall back to the crowd, then takes Elsa's hand to the wedding.
The King leads at the front of the couple.
When they are about to go inside the church (once more), Telramund also enters. He pleads to the king that his defeat in combat was invalid because the Knight did not give his name.
Trial by combat is traditionally open only to established citizens, then accuses him of magic arts.
The Knight refuses to reveal his identity and claims that only one person in the world has the right to know his origin – his beloved Elsa and no other person.
Elsa, though visibly shaken and uncertain, assures him of her confidence.
King Henry responds to Telramund's questioning of the Knight's name to the Knight, but the nobles of Brabant and Saxony praise and give respect to the Knight.
Elsa, not seeing her beloved, falls back from the crowd.
Then, Ortrud and Telramund take Elsa and then try to intimidate her, and after a short while, the Knight forces both to leave the ceremony.
The Knight consoles Elsa.
Finally, the King, the Knight, and Elsa, together with the men and women around, go forward. Elsa takes one last look at the banished Ortrud, then they enter the church.
Act 3
Scene 1: The bridal chamber
Elsa and her new husband are ushered in with the well-known bridal chorus, and the couple express their love for each other.
Ortrud's words, however, are impressed upon Elsa, and, despite his warning, she asks her husband the fatal question.
Before the Knight can answer, Telramund and his four recruits rush into the room in order to attack him.
*************************************
The knight defeats and kills Telramund.
***************************************
Then, he sorrowfully turns to Elsa and asks her to follow him to the king, to whom he will now reveal the mystery.
Scene 2:
On the banks of the Scheldt (as in Act 1)
The troops arrive equipped for war.
Telramund's corpse is brought in, Elsa comes forward, then the Knight.
He discloses his identity to the king and Elsa.
He tells the story of the Holy Grail, on the Monsalvat, and reveals himself as Lohengrin, Knight of the Holy Grail and son of King Parsifal.
The time for his return has arrived and he has only tarried to prove Elsa innocent.
As he sadly bids farewell to his beloved bride, the swan reappears.
Lohengrin prays that Elsa may recover her lost brother, and gives her his sword, horn and ring; which allows Elsa to remember him fully.
Then, when Lohengrin tries to get in the boat, Ortrud appears.
She tells Elsa that the swan who drove Lohengrin to the bank was actually Gottfried, Elsa's brother.
And she put a curse on him by turning him into a swan.
The people considered Ortrud guilty of witchcraft.
Lohengrin prays to the swan, and the swan turns into another form, a young Gottfried.
He elects him as the Duke of Brabant.
Ortrud sinks as she sees him (Gottfried).
A dove descends from heaven, and, taking the place of the swan at the head of the boat, leads Lohengrin to the castle of the Holy Grail.
Elsa is stricken with grief, however, and falls to the ground dead, longing for her beloved.
Notable arias and excerpts
The opera is full of 'hits' performed as concert set-pieces, namely:
Act I, Prelude.
Act I, 'Einsam in trüben Tage' (Elsa's Narrative)
Act I, Scene 'Wenn ich im Kampfe für dich siege'
Act II, 'Euch lüften, die mein Klagen' (Elsa)
Act II, Scene 4 opening, arranged as "Elsa's Procession to the Cathedral"
Act III, Prelude
Act III, Bridal Chorus "Treulich geführt" arranged as "Here Comes the Bride"
Act III, 'Das süsse Lied verhallt' (Love duet)
Act III, 'Höchstes Vertrau'n' (Lohengrin's Declaration to Elsa)
Act III, Entry of King Henry
Act III, 'In fernem Land' (Lohengrin's Narration)
Act III, 'Mein lieber Schwan... O Elsa! Nur ein Jahr an deiner Seite' (Lohengrin's
Farewell)
[edit] Interpretations
In their article
"Elsa's reason: on beliefs and motives in Wagner's Lohengrin",
Ilias Chrissochoidis and Steffen Huck propose what they describe as
"a complex and psychologically more compelling account [of the opera]. Elsa asks the forbidden question because she needs to confirm Lohengrin's belief in her innocence, a belief that Ortrud successfully erodes in Act II.
This interpretation reveals Elsa as a rational individual, upgrades the dramatic significance of the Act I combat scene, and, more broadly, signals a return to a hermeneutics of Wagnerian drama.
In 1907, Victor Herbert produced a one-act parody of Lohengrin called The Magic Knight (q.v.)
[edit] RecordingsMain article: Lohengrin discography
[edit] ReferencesNotes
1.^ Grove's Dictionary of Music and Musicians, 5th ed., 1954
2.^ a b c d e f Performance History of Lohengrin at amadeusonline.net
3.^ Gustav Kobbé, The Complete Opera Book (Putnam, London 1929 printing), p. 117. The first Academy performance was 23 March 1874 with Christine Nilsson, Cary, Italo Campanini and Del Puente (ibid.). See 'Wagner in the Bowery', Scribner's Monthly Magazine 1871, 214-16; New York Times, Opera at the Stadt Theater, 3 May 1871
4.^ New York Times, Wagner's "Lohengrin", 8 April 1871. See also Opera Gems.com, Lohengrin
5.^ Istituto Nazionale di Studi Verdiani
6.^ Elizabeth Forbes, 'Sophie Cruvelli' (short biography), Arts.jrank.org
7.^ The title Führer von Brabant is often altered to Schützer in performances since 1945, because the former title had acquired meanings unforeseen by either Lohengrin or Wagner. Führer formerly meant 'Leader' or 'Guide'.
8.^ Plot taken from The Opera Goer's Complete Guide by Leo Melitz, 1921 version.
9.^ Chrissochoidis, Ilias and Huck, Steffen (2010) "Elsa's reason: on beliefs and motives in Wagner's Lohengrin", Cambridge Opera Journal, 22/1, pp. 65-91 (subscription required)
[edit] External linksLibretto and Leitmoifs in German, Italian and English
Richard Wagner - Lohengrin. A gallery of historic postcards with motifs from Richard Wagner's operas.
Wagner's libretto (in German)
Further Lohengrin discography
Recording of "Euch Lüften" by Lotte Lehmann
Lohengrin: Free scores at the International Music Score Library Project.
San Diego OperaTalk! with Nick Reveles: Lohengrin
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Da voi lontan,
in sconosciuta terra
Havvi un castel,
che ha nome Monsalvato:
Là un sacro tempio una foresta serra,
Di gemme senza pari e d'oro ornato.
Ivi una coppa, che dal cielo è dono,
Guardata è qual reliqua del Signor,
A lor che di virtù campioni sono,
Un angiol la portò sull'ali d'or!
Ogni anno una colomba vien dal cielo
A rinnovar il santo suo poter!
Essa è il Santo Graal, e forza e santo zelo
Infonde in seno dei suoi cavalier.
"Lohengrin" is a romantic opera in three acts composed and written by Richard Wagner, first performed in 1850.
The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself inspired by the epic of Garin le Loherain.
It is part of the Knight of the Swan tradition.
The opera has proved inspirational towards other works of art.
Among those deeply moved by the fairy-tale opera was the young King Ludwig II of Bavaria.
'Der Märchenkönig' ('The Fairy-tale King') as he was dubbed later built his ideal fairy-tale castle and dubbed it "New Swan Stone," or "Neuschwanstein", after the Swan Knight.
It was King Ludwig's patronage that later gave Wagner the means and opportunity to compose, build a theatre for, and stage his epic cycle, the Ring of the Nibelung.
The most popular and recognizable part of the opera is the Bridal Chorus, better known as
"Here Comes the Bride",
once often played as a processional at weddings in the West.
The first production of Lohengrin was in Weimar, Germany on 28 August 1850 at the Staatskapelle Weimar under the direction of Franz Liszt, a close friend and early supporter of Wagner.
Liszt chose the date in honour of Weimar's most famous citizen, Johann Wolfgang von Goethe, who was born on 28 August 1749.
It was an immediate popular success.
The opera's first performance abroad was in Riga on 5 February 1855.
The Austrian premiere took place at the Burgtheater on 19 August 1859 with Róza Csillag as Ortrud.
The work was produced in Munich for the first time at the National Theatre on 16 June 1867 with Heinrich Vogl in the title role and Mathilde Mallinger as Elsa.
Mallinger sang Elsa again for the work's premiere at the Berlin State Opera's on 6 April 1869.
The Belgian premiere of the opera was given at La Monnaie on 22 March 1870 with Étienne Troy as Friedrich of Telramund and Feliciano Pons as Heinrich der Vogler.
The United States premiere of Lohengrin took place at the Stadt Theater at the Bowery in New York City on 3 April 1871.
Conducted by Adolf Neuendorff, the cast included Theodor Habelmann as Lohengrin, Luise Garay-Lichtmay as Elsa, Marie Frederici as Ortrud, Adolf Franosch as Heinrich and Edward Vierling as Telramund.
The first performance in Italy took place seven months later at the Teatro Comunale di Bologna on 1 November 1871 in an Italian translation by operatic baritone Salvatore Marchesi.
It was notably the first performance of any Wagner opera in Italy.
Angelo Mariani conducted the performance, which starred
Italo Campanini as "Lohengrin", Bianca Blume as Elsa, Maria Löwe Destin as Ortrud, Pietro Silenzi as Telramund, and Giuseppe Galvani as Heinrich der Vogler.
The performance on 9 November was attended by Giuseppe Verdi, who annotated a copy of the vocal score with his impressions and opinions of Wagner (this was almost certainly his first exposure to Wagner's music).
Lohengrin's Russian premiere took place at the Mariinsky Theatre on 16 October 1868.
La Scala produced the opera for the first time on 30 March 1873, with Campanini as Lohengrin, Gabrielle Krauss as Elsa, Philippine von Edelsberg as Ortrud, Victor Maurel as Friedrich, and Gian Pietro Milesi as Heinrich.
The United Kingdom premiere of Lohengrin took place at the Royal Opera House, Covent Garden on 8 May 1875 using the Italian translation by Marchesi.
Auguste Vianesi conducted the performance, which featured
Ernesto Nicolini
as Lohengrin, Emma Albani as Elsa, Anna D'Angeri as Ortruda, Maurel as Friedrich, and Wladyslaw Seideman as Heinrich.
The opera's first performance in Australia took place at the Prince of Wales Theatre in Melbourne on 18 August 1877.
The Metropolitan Opera mounted the opera for the first time on 7 November 1883 during the company's inaugural season.
Sung in Italian,
Campanini
portrayed the title role with Christina Nilsson as Elsa, Emmy Fursch-Madi as Ortrud, Giuseppe Kaschmann as Telramund, Franco Novara as Heinrich, and Auguste Vianesi conducting.
Ludwig II of Bavaria portrayed as Lohengrin below a moon with Wagners face.
Brochure in Der Floh - 1885.
Lohengrin was first publicly performed in France at the Eden-Théâtre in Paris on 30 April 1887 in a French translation by Charles-Louis-Etienne Nuitter.
Conducted by Charles Lamoureux, the performance starred Ernest van Dyck as the title hero, Fidès Devriès as Elsa, Marthe Duvivier as Ortrud, Emil Blauwaert as Telramund, and Félix-Adolphe Couturier as Heinrich.
There was however an 1881 French performance given as a Benefit, in the Cercle de la Méditerranée Salon at Nice, organized by Sophie Cruvelli, in which she took the role of Elsa.
The opera received its Canadian premiere at the opera house in Vancouver on 9 February 1891 with Emma Juch as Elsa.
The Palais Garnier staged the work for the first time the following 16 September with van Dyck as Lohengrin, Rose Caron as Elsa, Caroline Fiérens-Peters as Ortrude, Maurice Renaud as Telramund, and Charles Douaillier as Heinrich.
The first Chicago performance of the opera took place at the Auditorium Building of Roosevelt University on 9 November 1891.
Performed in Italian, the production starred Jean de Reszke as the title hero, Emma Eames as Elsa, and Edouard de Reszke as Heinrich.
The instrumentation is quite extensive for an orchestra of 1850.
The work calls for:
3 flutes (3rd doubling on piccolo), 3 oboes (3rd doubling on English horn), 3 clarinets in A, Bes and C (3rd doubling on bass clarinet in A, B-flat), 3 bassoons
4 horns in E, D, Es, C and G, 3 trumpets in E, D, Es and C, 3 trombones (2 tenor, 1 bass), 1 tuba
Violins (1 and 2), Violas, Cellos, Double basses, Harp
2 pairs of timpani, cymbals, triangle, tambourine
There are also parts for offstage and onstage instruments. They are as follows:
Onstage, in every act, but on some scenes, there are four trumpets in C.
In Act 2, first scene there is a piccolo, two flutes, three oboes, three clarinets in A, two bassoons, three horns in E and F, three trumpets in D, three trombones, timpani, and cymbals.
On the third scene, there are four extra trumpets transposed in D.
On the fifth scene, there are six other trumpets, totaling ten trumpets in C. An organ is present also in the scene.
In Act 3, during the Bridal Chorus (first scene), there are three flutes, three oboes, two clarinets in B-flat, three bassoons, four horns in B and E-flat, 2 trumpets (possibly B or E-flat), a triangle, and a harp.
At the end of the second scene, there are four trombones.
At the beginning of the third scene, there are eight more trumpets, totaling twelve from the four trumpets in C.. Their transpositions come in pairs. One pair is transposed in E-flat, another in D, other in F, and the other two trumpets in E. One or two tenor drums are also present. After, all eight trumpets are transposed in F.
[edit] Roles
Role Voice type Premiere Cast, 28 August 1850
(Conductor: Franz Liszt)
Lohengrin tenor Carl Beck
Elsa of Brabant soprano Rosa von Milde-Agthe
Ortrud, Telramund's wife mezzo-soprano Josephine Fastlinger
Friedrich of Telramund, a Count of Brabant baritone Hans von Milde
Heinrich der Vogler (Henry the Fowler) bass Höfer
The King's Herald baritone August Pätsch
Four Noblemen of Brabant tenors, basses
Four Pages sopranos, altos
Duke Gottfried, Elsa's brother silent Hellstedt
Saxon, Thuringian, and Brabantian counts and nobles, ladies of honor, pages, vassals, serfs
[edit] Synopsis
Place:
Antwerp, on the Scheldt.
Time: 10th century
Act 1
King Henry the Fowler has arrived in Brabant where he has assembled the German tribes in order to expel the Hungarians from his dominions.
He also needs to settle a dispute involving the disappearance of the child-Duke Gottfried of Brabant.
The Duke's guardian, Conte Federicco di Telramund, has accused the Duke's sister, Elsa, of murdering her brother.
He calls upon the King to punish Elsa and to make him, Telramund, the new Duke of Brabant.
The King calls for Elsa to answer Telramund's accusation.
She enters, surrounded by her attendants.
Knowing herself to be innocent, she declares that she will submit to God's judgment through ordeal by combat.
Telramund, a strong and seasoned warrior, agrees enthusiastically.
When the King asks who shall be her champion, Elsa describes a knight she has beheld in her dreams (Narrative: "Alone in dark days") and sinks to her knees, praying for God to send her relief.
Twice the Herald sounds the horn in summons, without response.
Then Elsa herself makes the call.
--------------------
A boat drawn by a swan appears on the river and in it stands a knight in shining armour.
He disembarks, dismisses the swan, respectfully greets the king, and asks Elsa if she will have him as her champion.
Elsa kneels in front of him and places her honour in his keeping.
He asks but one thing in return for his service.
She is never to ask him his name or where he has come from.
Elsa agrees to this.
Telramund's people advise him to withdraw because he cannot prevail against magic, but he proudly refuses and the combat area is prepared.
The company prays to the one "Herr und Gott" for victory for the one whose cause is just.
Telramund's wife, Ortrud, a pagan woman, does not join the prayer of the monotheists, but privately expresses confidence that Telramund will win.
The combat commences.
The unknown knight defeats Telramund but spares his life.
Taking Elsa by the hand, he declares her innocent and asks for her hand in marriage.
The crowd exits, cheering and celebrating, and Ortrud and Telramund are left to lament their defeat.
Act 2
Night in the courtyard outside the cathedral
Telramund and Ortrud, banished, listen unhappily to the distant party-music.
Ortrud, a pagan witch (daughter of Radbod Duke of Frisia), tries to revive Telramund's courage, assuring him that her people (and he) are destined to rule the kingdom again.
She plots to induce Elsa to violate the mysterious knight's only condition.
When Elsa appears on the balcony in the twilight before dawn she hears Ortrud lamenting and pities her.
While Elsa descends to open the castle door, Ortrud prays to her pagan gods, Wodan and Freia, for malice, guile, and cunning, in order to deceive Elsa and restore pagan rule to the region.
When Elsa appears, Ortrud warns her that since she knows nothing about her rescuer, he could leave her any time, as suddenly as he came.
The sun rises and the people assemble.
The Herald announces that Telramund is now outlawed due to the false trial, and anyone who follows Telramund is an outlaw by the law of the land.
In addition, he announces that the king has offered to make the unnamed knight the Duke of Brabant.
However, the Knight has declined the title, and prefers to be known only as "Leader of Brabant".
The Herald further announces that the Knight will lead the people to glorious new conquests, and will celebrate the marriage of him and Elsa.
Behind the crowd, four knights quietly express misgivings to each other.
Telramund appears, and, concealing himself from the crowd, draws these four knights aside and assures them that he will regain his position and stop the Knight, by accusing him of magic.
As Elsa and her attendants are about to enter the church, Ortrud appears, clad in magnificent attire, and challenges Elsa to tell who her husband is, and to explain why anyone should follow him.
After that, King Henry enters with the Knight.
Elsa tells both of them that Ortrud was interrupting the ceremony.
The Knight tells Ortrud to fall back to the crowd, then takes Elsa's hand to the wedding.
The King leads at the front of the couple.
When they are about to go inside the church (once more), Telramund also enters. He pleads to the king that his defeat in combat was invalid because the Knight did not give his name.
Trial by combat is traditionally open only to established citizens, then accuses him of magic arts.
The Knight refuses to reveal his identity and claims that only one person in the world has the right to know his origin – his beloved Elsa and no other person.
Elsa, though visibly shaken and uncertain, assures him of her confidence.
King Henry responds to Telramund's questioning of the Knight's name to the Knight, but the nobles of Brabant and Saxony praise and give respect to the Knight.
Elsa, not seeing her beloved, falls back from the crowd.
Then, Ortrud and Telramund take Elsa and then try to intimidate her, and after a short while, the Knight forces both to leave the ceremony.
The Knight consoles Elsa.
Finally, the King, the Knight, and Elsa, together with the men and women around, go forward. Elsa takes one last look at the banished Ortrud, then they enter the church.
Act 3
Scene 1: The bridal chamber
Elsa and her new husband are ushered in with the well-known bridal chorus, and the couple express their love for each other.
Ortrud's words, however, are impressed upon Elsa, and, despite his warning, she asks her husband the fatal question.
Before the Knight can answer, Telramund and his four recruits rush into the room in order to attack him.
*************************************
The knight defeats and kills Telramund.
***************************************
Then, he sorrowfully turns to Elsa and asks her to follow him to the king, to whom he will now reveal the mystery.
Scene 2:
On the banks of the Scheldt (as in Act 1)
The troops arrive equipped for war.
Telramund's corpse is brought in, Elsa comes forward, then the Knight.
He discloses his identity to the king and Elsa.
He tells the story of the Holy Grail, on the Monsalvat, and reveals himself as Lohengrin, Knight of the Holy Grail and son of King Parsifal.
The time for his return has arrived and he has only tarried to prove Elsa innocent.
As he sadly bids farewell to his beloved bride, the swan reappears.
Lohengrin prays that Elsa may recover her lost brother, and gives her his sword, horn and ring; which allows Elsa to remember him fully.
Then, when Lohengrin tries to get in the boat, Ortrud appears.
She tells Elsa that the swan who drove Lohengrin to the bank was actually Gottfried, Elsa's brother.
And she put a curse on him by turning him into a swan.
The people considered Ortrud guilty of witchcraft.
Lohengrin prays to the swan, and the swan turns into another form, a young Gottfried.
He elects him as the Duke of Brabant.
Ortrud sinks as she sees him (Gottfried).
A dove descends from heaven, and, taking the place of the swan at the head of the boat, leads Lohengrin to the castle of the Holy Grail.
Elsa is stricken with grief, however, and falls to the ground dead, longing for her beloved.
Notable arias and excerpts
The opera is full of 'hits' performed as concert set-pieces, namely:
Act I, Prelude.
Act I, 'Einsam in trüben Tage' (Elsa's Narrative)
Act I, Scene 'Wenn ich im Kampfe für dich siege'
Act II, 'Euch lüften, die mein Klagen' (Elsa)
Act II, Scene 4 opening, arranged as "Elsa's Procession to the Cathedral"
Act III, Prelude
Act III, Bridal Chorus "Treulich geführt" arranged as "Here Comes the Bride"
Act III, 'Das süsse Lied verhallt' (Love duet)
Act III, 'Höchstes Vertrau'n' (Lohengrin's Declaration to Elsa)
Act III, Entry of King Henry
Act III, 'In fernem Land' (Lohengrin's Narration)
Act III, 'Mein lieber Schwan... O Elsa! Nur ein Jahr an deiner Seite' (Lohengrin's
Farewell)
[edit] Interpretations
In their article
"Elsa's reason: on beliefs and motives in Wagner's Lohengrin",
Ilias Chrissochoidis and Steffen Huck propose what they describe as
"a complex and psychologically more compelling account [of the opera]. Elsa asks the forbidden question because she needs to confirm Lohengrin's belief in her innocence, a belief that Ortrud successfully erodes in Act II.
This interpretation reveals Elsa as a rational individual, upgrades the dramatic significance of the Act I combat scene, and, more broadly, signals a return to a hermeneutics of Wagnerian drama.
In 1907, Victor Herbert produced a one-act parody of Lohengrin called The Magic Knight (q.v.)
[edit] RecordingsMain article: Lohengrin discography
[edit] ReferencesNotes
1.^ Grove's Dictionary of Music and Musicians, 5th ed., 1954
2.^ a b c d e f Performance History of Lohengrin at amadeusonline.net
3.^ Gustav Kobbé, The Complete Opera Book (Putnam, London 1929 printing), p. 117. The first Academy performance was 23 March 1874 with Christine Nilsson, Cary, Italo Campanini and Del Puente (ibid.). See 'Wagner in the Bowery', Scribner's Monthly Magazine 1871, 214-16; New York Times, Opera at the Stadt Theater, 3 May 1871
4.^ New York Times, Wagner's "Lohengrin", 8 April 1871. See also Opera Gems.com, Lohengrin
5.^ Istituto Nazionale di Studi Verdiani
6.^ Elizabeth Forbes, 'Sophie Cruvelli' (short biography), Arts.jrank.org
7.^ The title Führer von Brabant is often altered to Schützer in performances since 1945, because the former title had acquired meanings unforeseen by either Lohengrin or Wagner. Führer formerly meant 'Leader' or 'Guide'.
8.^ Plot taken from The Opera Goer's Complete Guide by Leo Melitz, 1921 version.
9.^ Chrissochoidis, Ilias and Huck, Steffen (2010) "Elsa's reason: on beliefs and motives in Wagner's Lohengrin", Cambridge Opera Journal, 22/1, pp. 65-91 (subscription required)
[edit] External linksLibretto and Leitmoifs in German, Italian and English
Richard Wagner - Lohengrin. A gallery of historic postcards with motifs from Richard Wagner's operas.
Wagner's libretto (in German)
Further Lohengrin discography
Recording of "Euch Lüften" by Lotte Lehmann
Lohengrin: Free scores at the International Music Score Library Project.
San Diego OperaTalk! with Nick Reveles: Lohengrin
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