Giuseppe Verdi Jérusalem Videos
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2024-04-24
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Giuseppe Verdi Temistocle Solera Bossi 1842 1861 1981 2009
"Va, pensiero", also known as the "Chorus of the Hebrew Slaves", is a chorus from the opera Nabucco (1842) by Giuseppe Verdi. It recollects the period of Babylonian captivity after the loss of the First Temple in Jerusalem in 586 BCE. The libretto is by Temistocle Solera, inspired by Psalm 137. The opera with its powerful chorus established Verdi as a major composer in 19th-century Italy. The full incipit is "Va, pensiero, sull'ali dorate", meaning "Go, thought, on wings of gold". Some scholars have thought that the chorus was intended to be an anthem for Italian patriots, who were seeking to unify their country and free it from foreign control in the years up to 1861 (the chorus's theme of exiles singing about their homeland, and its lines like O mia patria, si bella e perduta / "O my country, so beautiful, and lost" was thought to have resonated with many Italians). On 27 January 1981 the journalist and creative writer Giorgio Soavi [proposed replacing Italy's national anthem with "Va, pensiero" in a letter published by Indro Montanelli in his daily newspaper Il Giornale. The proposal was widely discussed for some time and then abandoned until 2009, when Senator Umberto Bossi took it up again, but to no effect. However, Bossi's political party, Lega Nord/Padania, has adopted "Va, pensiero" as its official hymn and the chorus is now sung at all party meetings. Disclaimer: All videos are apolitical and this channel is against any form of extremism or hatespeech!
(http•••) By Aaron Green Premiered: November 26, 1947 - Salle Le Peletier (The Paris Opera), Paris Setting of Jerusalem: Verdi's Jerusalem is set in late 11th century Toulouse and Palestine. Jerusalem, ACT 1 Helene, daughter of the Count of Toulouse, and her lover Gaston, Viscount of Beam, meet one last time in the count's palace early in the evening before he leaves the next day as a soldier in the First Crusade. Their relationship has been frowned upon because neither of their families get along with one another, however, hours before Gaston is to depart, he resolves himself to bring both families together in order to mend their differences. When the morning arrives, the Count announces that the two families have come to a mutual understanding and grants Gaston's wish to marry Helene. The Count's brother, Roger, is furious with the announcement since he is secretly in love with Helene, and angrily leaves the room. Meanwhile, the official representative of the Pope arrives with news that the Pope has declared Gaston as the leader of the crusade. Gaston takes the position with honor and is given the Count's white cloak for his fierce loyalty. As the party leaves the palace and enters the chapel, Roger returns with one of his lackeys and orders him to kill his rival. He tells him it will be the man not wearing the white cloak and sends him inside the chapel. Moments later screams are heard and the murderer rushes outside, quickly followed by a group of people. Roger relishes in his evil victory, but nearly falls over when he sees Gaston appear announcing the Count has been stabbed. The man is apprehended and brought in front of Roger for questioning. Roger silently persuades him to point to Gaston as the perpetrator. No matter how hard he protested, Gaston was unable to convince anyone of his innocence, and the Pope's legate exiles him. Jerusalem, ACT 2 Years later, Roger, who has exiled himself out of guilt, is wandering the desert beseeching the Lord for forgiveness. Out of nowhere, he crosses paths with Gaston's squire, Raymond, who has been searching desperately for his lost group of Crusaders. Raymond begs for Roger's help and quickly receives it; the two men gather their remaining strength and set out to find the missing men. Helene and her companion, Isaure, have left the palace and journeyed into the desert in search of a hermit whom they hope will reveal Gaston's fate to them. On their way, they run into Raymond. When they ask about Gaston, he tells them that Gaston is alive, but he was captured and imprisoned in Ramla. Raymond escorts the women to Ramla. Gaston is brought into the palace of the Emir. While he waits for a meeting with the Emir, he longingly remembers Helene and begins devising a plan for escape. When the Emir finally meets with him, Gaston is disheartened to hear that the Emir will punish anyone who escapes by death. Just then, Helene is brought into the Emir's court, having been captured snooping about the city. She and Gaston pretend not to know each other and they are left alone despite the Emir's doubts. They are overjoyed to see one another again, but Gaston tells her she should not love him because he is a dishonourable man. She refuses. When they see Crusader soldiers approaching, they decide that now would be the time to flee. Before they can make their way out, the Emir's soldiers enter to defend the palace.
Russo Wimberger Giuseppe Verdi Temistocle Solera Baal Dariusz Niemirowicz Diener Simone Young Wiener Volksoper Wiener Staatsoper 1994
NABUCCO Oper in vier Akten (7 Bildern) von Giuseppe Verdi. Text von Temistocle Solera in deutscher Übersetzung. Nabucco, König von Babylon: Georg Tichy Fenena, seine Tochter: Cornelia Helfricht Abigail, Sklavin, vermeintlich seine erstgeborene Tochter: Maria Russo Ismael, Neffe des Königs von Jerusalem: Gregor Caban Zacharias, Priester der Hebräer: Peter Wimberger Oberpriester des Baal: Dariusz Niemirowicz Abdallo, Diener Nabuccos: Alois Aichhorn Anna, Zacharias' Schwester: Ilonka Szep Chor und Orchester der Wiener Volksoper Simone Young Wiener Staatsoper, 10. Jänner 1994 Digital in-house recording, 32 Khz DAT to WAV 4 FLAC files: (http•••)
The great Corsican dramatic tenor Léon Escalaïs in the stunningly delivered cavatina from Giuseppe Verdi's first foray into French grand opera, Jérusalem. The aria and opera are reworked analogues of Verdi's earlier "La mia letizia infondere" and I Lombardi alla prima crociata, respectively. Je veux encore entendre ta voix, ta voix si tendre. Pour fuir, il faut attendre les ombres du soir. Ange, vers qui s'envole mon rêve d'espoir! Ah, bel ange, mon idole, je veux encor te voir! Bel ange! I wish to hear your voice once more, your tender voice. To escape, I must wait for the darkness of night. My angel, to whom my dream of hope flies! Ah, my beautiful angel. I want to see you again! ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
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