Giuseppina Ronzi de Begnis Videos
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Giuseppe Verdi Mayr Donizetti Albani Begnis 2010 2011
Circolo musicale Mayr Donizetti 36ª stagione operistica 2010-2011 Di Provenza il mar, il suol da La Traviata, melodramma in tre atti. Musica di Giuseppe Verdi Giorgio Germont - Michele Govi Alfredo Germont - Luigi Albani violino Ettore Begnis violoncello Flavio Bombardieri al piano Damiano Maria Carissoni regia Valerio Lopane 26 Novembre 2010 Teatro San Giovanni Bosco via San Sisto, 9 Bergamo (quartiere di Colognola)
Testi Ling Begnis Maffei Franceschini Crotti Guerini
CANTATE DE LA NATURE Nature cantata Cantata della natura Musica di DOMENICO CLAPASSON testi di Alcmane, Baudelaire, Seneca e antichi testi della tradizione irlandese 1. Premiere prophetie 2. Lamentations 3. Premiere intermede 4. Immortalité 5. Grands bois 6. IMMOBILITE 7. Deuxieme intermede 8. Valse mélancolique 9. Deuxieme prophetie Lin Ling Hui soprano CŒNOBIUM VOCALE Alessandro Simonato Tenore Renato Grotto Tenore Alberto Spadarotto Baritono Walter Testolin Basso Maria dal Bianco - maestro ENSEMBLE INSTRUMENTAL ARBOS direttore: Domenico Clapasson Violini Ettore Begnis Agata Borgato Cesare Maffei Rita Pepicelli Luisa Franceschini Daniela Fusha Viole Carlo Costalbano Elena Laffranchi Violoncelli Gabriele Miglioli Flavio Bombardieri Contrabbasso Riccardo Crotti Pianoforte Marco Paderni Percussioni Massimiliano Comincini www.domenicoclapasson.com opera presente nel CD "Cantate" (APUS005) musiche di Domenico Clapasson e Paolo Ugoletti elaborazione video: Stefano Guerini
Donizetti Amo Renato Bruson Chopin Verdi Giuseppina Ronzi Begnis Ronzi Antonio Tamburini Giuditta Pasta Bellini Donzelli Castil Blaze Blaze Notre Dame Paris Teatro San Carlo Fenice 1800 1831 1832 1833 1834 1841 1981
"T'amo ancora" is one of three baritone arias in Act 2, Scene 2 of Donizetti's opera 'Fausta', which was written in 1831, a year important in Romanticism---the year of 'Norma', 'Robert le diable', 'Marion Delorme', 'Notre Dame de Paris', Chopin's arrival in Paris, and preparations for 'La Sylphide'. Bruson is superb at expressing the tender paternal melancholy of the aria. "T'amo ancora" exhibits the DNA that Verdi would exploit so well in "Di Provenza". The opera premiered at the Teatro San Carlo, Naples, 12 January 1832 and was quite successful. The role of Fausta was the first of six great vehicles written for Giuseppina Ronzi de Begnis by Donizetti, whom the composer deeply admired, while Costantino was created by Antonio Tamburini, then soaring to his position as the major baritone of his time. In the grand tradition of Italian baritones, Renato Bruson is divine as the Emperor Costantino: ruler, husband, yet always a father: T'amo ancora, ancor dal ciglio per te, o figlio, il pianto scende, al perdono ancor mi rende per te pronta la pietà, ma mi svela i fatti tuoi. Solo sei, nessun t'ascolta: tutto il core aprir mi puoi, Costantin qui non ti udrà. This aria was written by Donizetti for Giovanni Orazio Cartagenova to replace "Se di regnar desio" in the 1834 Venice Carnival season revival with Giuditta Pasta at the Teatro La Fenice. Cartagenova +••.••(...)) also created the role of Filippo in Bellini's 'Beatrice di Tenda' in that same Venice season. Appropriately in the audience for this opera of forbidden attachments were George Sand and Alfred de Musset / those notorious Romantic exemplars of sexual transgression / then famously sojourning in Venice. Sand admiringly described the city in a letter of 16 March 1834: "...the murmurs of the sea breaking upon the ear; moonlights nowhere else to be seen; choruses of gondoliers, sometimes very correct, serenading under every window; cafes fall of Turks and Armenians; fine and spacious theatres where you can hear Pasta and Donzelli; gorgeous palaces..." Both arias were sung by Renato Bruson in the 1981 Rome Opera revival. The character is the conflicted Emperor Costantino, torn between loyalties to his wife and son, a role which was created by the great baritone Antonio Tamburini / he of the legendary 'Puritani Quartet' / in his youthful prime. The critic Castil-Blaze described Tamburini's voice in 'The Harmonicon' of May 1833: "His voice is a fine baritone, well defined, extending from A to F, occasionally reaching G#, and sometimes descending to Gb. I might have allotted to him the two full octaves without reserve, but I prefer to retrench the semitone, above and below, that I may give to his voice and tone the full praise it merits. It is round, rich, and clear, of wonderful flexibility, and such astonishing firmness, that it is impossible to suspect any note is passed over unperceived. He has the neatness and precision of execution that Ber and Barizel have acquired on the clarinet or bassoon. The tone is equal in its whole extent, taking and holding F# with as much ease as a tenor voice would do, or running over the notes with a vivacity unheard of till now." #Fausta #Donizetti #RenatoBruson
Patrizia Cigna Cigna Gioacchino Rossini Mayr Donizetti Begnis 2010 2011
Circolo musicale Mayr Donizetti 36ª stagione operistica 2010-2011 Una voce poco fa da Il barbiere di Siviglia, melodramma buffo in due atti. Musica di Gioacchino Rossini Rosina - Patrizia Cigna violino Ettore Begnis violoncello Flavio Bombardieri al piano Damiano Maria Carissoni regia Valerio Lopane 18 febbraio 2011 Teatro San Giovanni Bosco via San Sisto, 9 Bergamo (quartiere di Colognola)
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- Zeitleiste: Lyrische Sänger (Europa).
- Indizes (in alphabetischer Reihenfolge): B...