André-Cardinal Destouches Videos
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George Frideric Handel Sandrine Piau Christophe Rousset Elisabetta Pilotti Schiavonetti Nicola Haym André Destouches Hicks Les Talens Lyriques 1680 1685 1699 1715 1742 1759 1996
Ah! spietato! e non ti muove from Amadigi di Gaula, HWV 11 (1715) George Frideric Handel +••.••(...)) Sandrine Piau, soprano Les Talens Lyriques under Christophe Rousset Ah! spietato! e non ti muove un affetto si costante, che per te mi fa languir! Ma crudel, tu non sai, come fai sdegnar' un alma amante, che tu brami di tradir…. No, non sai. Ah, cruel one! And you are not moved By such faithful affection That makes me languish for you! But, pitiless, you do not realize that You scorn a loving soul, Whom you wish to betray. No, you do not know. This role of Melissa was created by Elisabetta Pilotti-Schiavonetti (c. 1680-1742). Three of the roles that Handel wrote specifically for her were sorceresses, and the demands of those roles indicate that she possessed an exceptional voice capable of both dramatic power and technical agility. (http•••) "The libretto, probably by Nicola Haym, was based on a French model, originally set by André Destouches in 1699. Like Rinaldo, it has a prominent role for a jealous sorceress, Melissa, who is determined to destroy the liaison between the hero Amadis and his beloved Oriana. Melissa is not portrayed as wholly evil, but as a woman torn between a genuine but unrequited love for Amadis and a desire to punish him for rejecting her. Her dilemma is immediately apparent in her first aria ‘Ah! spietato’. In the slow main section the anguish expressed by the vocal line is poignantly echoed by a solo oboe. The mood turns to anger in the fast middle section, after which the return of the main section is especially heartrending—a fine example of the da capo principle being used for dramatic effect." from notes by Anthony Hicks 1996 CD available from Naïve: (http•••) Photography by Annie Bertram: (http•••)
Jean Baptiste Lully Marin Marais André Campra André Destouches Rondeau Ensemble Baroque Limoges 1900
Jean-Baptiste Lully: Armide (Excerpts) 00:00 Overture Air: Gravement Gavotte en Rondeau Passacaille Prelude Air pour la Suite de la Haine Sarabande en Rondeau Marin Marais: Ariane et Bacchus Suite 19:00 Entrée pour servir d’Entr’act Premier Air pour Suite de la Nimphe Chaconne André Campra: Tancrède (Excerpts) 31:46 Ouverture Air des Guerriers Air des Plaisirs Grand Air 2éme Air-viste André Campra: Les festes Vénitiennes (Excerpts) 45:23 Entree De La Suite De La Folie Gigue Air Pour La Suite Du Carnaval Rondeau La Bohemienne Air Pour Les Arlequins Air Des Espagnols Air Des Espagnolles Chaconne André Destouches: Les Elements 59:29 Ouverture Sarabande Pour Les Suivants De Venus Air Pour Les Suivants De Venus Air Pour Les Heures Et Les Zephirs, Passepied Air Pour Les Nereides Air Pour Les Divinites Marche Des Matelots Chaconne Pour Les Chevaliers Romains Marche Pour Les Bergers Et Les Bergeres Musettes Martyna Pastuszka Orkiestra Historyczna J.-M. Hasler Ensemble baroque de Limoges
Wolfgang Amadeus Mozart Beethoven Joseph Haydn Coltellini Destouches 1734 1756 1769 1781 1791
Wolfgang Amadeus Mozart (German: [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsaʁt], English see fn.), name Johannes Chrysostomus Wolfgangus Theophilus Mozart (27 January 1756 / 5 December 1791), was a prolific and influential composer of the Classical era. Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, he was engaged as a court musician in Salzburg, but grew restless and travelled in search of a better position, always composing abundantly. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. Mozart learned voraciously from others, and developed a brilliance and maturity of style that encompassed the light and graceful along with the dark and passionate. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence on subsequent Western art music is profound; Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years... (http•••) La finta semplice (The Pretended Simpleton), K. 51 (46a) is an opera buffa in three acts for soloists and orchestra, composed in 1769 by then 12-year-old Wolfgang Amadeus Mozart to an Italian libretto by the court poet Marco Coltellini based on an early work by Carlo Goldoni. Mozart composed the music using the model of comedy started by Philippe Destouches with La fausse Agnès, ou le Poète campagnard (1734). The form of libretto includes the introduction, a duet and three finals... (http•••) A link to this wonderful artists Website: (http•••) Please Enjoy! I send my kind and warm regards,
André Cardinal Destouches 1672 1712 1749
André Cardinal Destouches (1672~1749) Callirhoé (Opera) / 1712 Act. 1 scene 1~6
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