Verdi Un Ballo in Maschera / Álarcosbál (Részletek / Excerpts) Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Verdi Un Ballo In Maschera / Álarcosbál (Részletek / Excerpts) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Un Ballo In Maschera / Álarcosbál (Részletek / Excerpts) Country: Hungary Released: 1973 Style: Opera MP3 version RAR size: 1352 mb FLAC version RAR size: 1553 mb WMA version RAR size: 1109 mb Rating: 4.8 Votes: 803 Other Formats: VQF XM DMF RA MP2 WAV AAC Tracklist I. Felvonás A1 Előjáték A2 Oszkár Áriája A3 Ulrika Áriája A4 Hármas A5 Tengerész Dal II. Felvonás B1 Amelia Áriája B2 Amelia És Richard Kettőse III. Felvonás B3 René Áriája B4 Oszkár Áriája B5 Finálé Companies, etc. Printed By – Kossuth Nyomda Credits Alto Vocals [Ulrica] – Magda Tiszai* Baritone Vocals [Renato] – György Radnai* Bass Vocals [Samuelo] – András Faragó Bass Vocals [Tom Maso] – Sándor Mészáros* Chorus – Magyar Rádió Énekkara* Composed By – Verdi* Conductor – Lamberto Gardelli Design – János Flohr Engineer – László Csintalan Liner Notes – Várnai Péter Orchestra – Magyar Állami Operaház Zenekara Photography By – Miklós Csák* Producer – András Székely Soprano Vocals [Amelia] – Paula Takács* Soprano Vocals [Oscarre] – Margit László Tenor Vocals [Riccardo] – Róbert Ilosfalvy* Barcode and Other Identifiers Rights Society: Artisjus Related Music albums to Un Ballo In Maschera / Álarcosbál (Részletek / Excerpts) by Verdi Gioacchino Rossini, Lamberto Gardelli, József Gregor, András Molnár, Sándor Sólyom Nagy, Janos B. Nagy, Attila Fülöp, Magda Kalmár, Julia Hamari, Begányi Ferenc, Hungarian State Opera Orchestra, Hungarian Radio And Television Chorus - Mosè Nilsson, Bergonzi, MacNeil, Simionato, Stahlman, Georg Solti Conducting Chorus & Orchestra Of L'Accademia Di Santa Cecilia, Rome - Un Ballo In Maschera = A Masked Ball Erkel - Excerpts From The Hunyadi László Puccini, Renata Tebaldi, Giulietta Simionato, Lucia Danieli, Chorus And Orchestra Of The Maggio Musicale Fiorentino Conducted By Lamberto Gardelli - Suor Angelica Verdi, Ruža Baldani, Carlo Bergonzi, Rolando Panerai, Ghena Dimitrova, Alison Browner, Chor Des Bayerischen Rundfunks, Münchner Rundfunkorchester, Lamberto Gardelli - Oberto Verdi / Lamberto Gardelli, José Carreras, Matteo Manuguerra, Sylvia Sass - Stiffelio Sylvia Sass, Lamberto Gardelli, National Philharmonic Orchestra - Dramatic Coloratura Mária Gyurkovics - Oscar Áriája Az "Álarcosbál" C. Operából Mozart, János Ferencsik - Requiem Alexander Svéd, Mária Gyurkovics - In Verdi's Opera Melis György, Hungarian State Opera Orchestra - Melis György Énekel/Operatic Recital J. Strauss - Operettjeiből.

Copy Link

Recommended publications

Blandade Insatser I Tidig Verdi
Blandade insatser i tidig Verdi Giuseppe Verdi: I due Foscari Solister: Vladimir Stoyanov, Stefan Pop, Maria Katzarava, Giacomo Prestia, m.fl. Filharmonica Arturo Toscanini & Coro del Teatro Regio di Parma Dirigent: Paolo Arrivabeni Dynamic CDS7865 [2 CD] Giuseppe Verdi: Attila Solister: Ildebrando d’Arcangelo, Liudmyla Monastyrska, Stefano La Colla, George Petean, m.fl. Münchner Rundfunkorchester & Chor des Bayerischen Rundfunks Dirigent: Ivan Repusic BR Klassik 900330 [2 CD] Efter att ha förlorat sin fru, sina två barn och fått uppleva ett praktfiasko i sin andra opera Un giorno di regno, gjorde Verdi en rejäl comeback med Nabucco 1842 som blev storsuccé. Därefter komponerade han hela 13 operor under de s.k. “Anni di galera”* (1843-50), som för Verdi innebar ett oupphörligt, intensivt arbete, där han tidvis till och med jobbade på flera verk samtidigt. Bland dessa verk har egentligen baraMacbeth varit given i standardrepertoaren, vilken de flesta av hans operor efter 1851 (från Rigoletto) tillhör. På 1970-talet fick operorna från “Anni di galera” en renässans på skivbolaget Philips (numera Decca), mycket tack vare den trogne Verdispecialisten Lamberto Gardelli. När det gäller operorna I due Foscari och Attila så har Gardellis upptagningar varit referensinspelningar för många; den förstnämnda nästan helt utan konkurrens och den andra har endastMutis inspelning på EMI/Warner kunnat mäta sig med om man enbart räknar med kommersiella inspelningar. I maj släpptes en inspelning av vardera operan, på skivmärkena Dynamic respektive BR Klassik. Dynamic har producerat en rad Verdi-inspelningar, där några ha varit acceptabla utan att på något sätt vara i närheten av dem från den gamla goda tiden.
[Show full text]
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
[Show full text]
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
[Show full text]
El Camino De Verdi Al Verismo: La Gioconda De Ponchielli the Road of Verdi to Verism: La Gioconda De Ponchielli
Revista AV Notas, Nº8 ISSN: 2529-8577 Diciembre, 2019 EL CAMINO DE VERDI AL VERISMO: LA GIOCONDA DE PONCHIELLI THE ROAD OF VERDI TO VERISM: LA GIOCONDA DE PONCHIELLI Joaquín Piñeiro Blanca Universidad de Cádiz RESUMEN Con Giuseppe Verdi se amplificaron y superaron los límites del Bel Canto representado, fundamentalmente, por Rossini, Bellini y Donizetti. Se abrieron nuevos caminos para la lírica italiana y en la evolución que terminaría derivando en la eclosión del Verismo que se articuló en torno a una nutrida generación de autores como Leoncavallo, Mascagni o Puccini. Entre Verdi y la Giovane Scuola se situaron algunos compositores que constituyeron un puente entre ambos momentos creativos. Entre ellos destacó Amilcare Ponchielli (1834-1886), profesor de algunos de los músicos más destacados del Verismo y autor de una de las óperas más influyentes del momento: La Gioconda (1876-1880), estudiada en este artículo en sus singularidades formales y de contenido que, en varios aspectos, hacen que se adelante al modelo teórico verista. Por otra parte, se estudian también cuáles son los elementos que conserva de los compositores italianos precedentes y las influencias del modelo estético francés, lo que determina que la obra y su compositor sean de complicada clasificación, aunque habitualmente se le identifique incorrectamente con el Verismo. Palabras clave: Ponchielli; Verismo; Giovane Scuola; ópera; La Gioconda; Italia ABSTRACT With Giuseppe Verdi, the boundaries of Bel Canto were amplified and exceeded, mainly represented by Rossini, Bellini and Donizetti. New paths were opened for the Italian lyric and in the evolution that would end up leading to the emergence of Verismo that was articulated around a large generation of authors such as Leoncavallo, Mascagni or Puccini.
[Show full text]
Rigoletto En La Biblioteca Pública “Azorín” Octubre 2012
Rigoletto en la Biblioteca Pública “Azorín” Octubre 2012 ■ INTRODUCCIÓN Rigoletto es un melodrama en tres actos con música de Giuseppe Verdi y libreto en italiano de Francesco Maria Piave, basado en la obra teatral Le Roi s'amuse, de Víctor Hugo. Fue estrenada el 11 de marzo de 1851 en el teatro La Fenice de Venecia. Está considerada por muchos una de las primeras obras maestras operísticas de mediados de la carrera de Verdi. Se trata de un drama de pasión, engaño, amor filial y venganza que tiene como protagonista a Rigoletto, el bufón jorobado de la corte del Ducado de Mantua. Historia Composición A principios de 1851, el teatro de La Fenice de Venecia invitó a Verdi a componer una nueva ópera para ser estrenada allí, en una época en que ya era un compositor bien conocido con un grado de libertad a la hora de elegir las obras que prefería musicar. Pidió entonces a Piave (con quien ya había trabajado en Ernani, I due Foscari, Macbeth, Il corsaro y Stiffelio) que examinara la obra Kean de Alejandro Dumas, padre, pero sentía que necesitaba un tema más enérgico con el que trabajar. Verdi pronto dio con el drama francés Le roi s’amuse (El rey se divierte), del escritor Víctor Hugo. Más tarde explicó que "Contiene posiciones extremadamente poderosas... El tema es grande, inmenso, y tiene un personaje que es una de las más importantes creaciones del teatro de todos los países y todas las épocas". Era un tema muy controvertido y el propio Hugo había tenido problemas con la censura en Francia, que había prohibido producciones de esta obra después de su primera representación casi veinte años antes (y continuaría prohibida durante otros treinta años).
[Show full text]
I Due Foscari
I DUE FOSCARI VERDI Fundació Gran Teatre del Liceu PATRONAT President d’Honor Artur Mas i Gavarró PATRONATO Presidente de Honor Artur Mas i Gavarró DE LA President del Patronat Joaquim Molins i Amat DE LA Presidente del Patronato Joaquim Molins i Amat FUNDACIÓ Vicepresident Primer Ferran Mascarell i Canalda FUNDACIÓN Vicepresidente Primero Ferran Mascarell i Canalda Vicepresident Segon José María Lassalle Ruiz Vicepresidente Segundo José María Lassalle Ruiz Vicepresident Tercer Xavier Trias i Vidal de Llobatera Vicepresidente Tercero Xavier Trias i Vidal de Llobatera Vicepresident Quart Salvador Esteve i Figueras Vicepresidente Cuarto Salvador Esteve i Figueras Vocals de la Generalitat de Catalunya Vocales de la Generalitat de Catalunya Josep M. Busquets i Galera, Pilar Fernández i Bozal, Josep M. Busquets i Galera, Pilar Fernández i Bozal, Pilar Pifarré i Matas, Jordi Sellas i Ferrés Pilar Pifarré i Matas, Jordi Sellas i Ferrés Vocals del Ministerio de Educación, Cultura y Deporte Vocales del Ministerio de Educación, Cultura y Deporte Santiago Fisas Ayxelà, Francisco Gaudier Fargas, Santiago Fisas Ayxelà, Francisco Gaudier Fargas, Montserrat Iglesias Santos, Santiago de Torres i Sanahuja Montserrat Iglesias Santos, Santiago de Torres i Sanahuja Vocals de l’Ajuntament de Barcelona Vocales del Ayuntamiento de Barcelona Jaume Ciurana i Llevadot, Marta Clari i Padrós Jaume Ciurana i Llevadot, Marta Clari i Padrós Vocal de la Diputació de Barcelona Vocal de la Diputación de Barcelona Joan Carles Garcia Cañizares Joan Carles Garcia Cañizares Vocals de la Societat del Gran Teatre del Liceu Vocales de la Sociedad del Gran Teatre del Liceu Manuel Bertrand i Vergés, Javier Coll i Olalla, Manuel Bertrand i Vergés, Javier Coll i Olalla, Josep M.
[Show full text]
Giuseppe Verdi Macbeth (Arien Und Szenen) Mp3, Flac, Wma
Giuseppe Verdi MacBeth (Arien Und Szenen) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: MacBeth (Arien Und Szenen) Country: Germany Released: 1971 MP3 version RAR size: 1786 mb FLAC version RAR size: 1923 mb WMA version RAR size: 1871 mb Rating: 4.3 Votes: 120 Other Formats: VOC AC3 MP2 AA MMF APE MPC Tracklist A1 Nel Di Della Vittoria ... Vieni! T'affreta! Accender Ti Vó A2 Regna Il Sonno Su Tutti... Fatal Mia Donna! Un Murmure A3 La Luce Langue A4 Studia Il Passo, O Mio Figlio... Come Dal Ciel Precipita A5 Che Ti Scosta, O Re Mio Sposo B1 Finchè Appelli, Silenti M'attendete B2 Patria Opressa! B3 O Figli, O Figi Miei!.... Ah La Paterna Mano B4 Vegliamo Invan Due Notti B5 Una Macchia È Qui Tuttora B6 Pietà, Rispetto, Amore B7 Vittoria! Vittoria! Companies, etc. Manufactured By – TELDEC »Telefunken-Decca« Schallplatten GmbH Credits Baritone Vocals – Dietrich Fischer-Dieskau, Peter Marsland Bass Vocals – Nicolai Ghiaurov, Raymond Myers Chorus – Ambrosian Opera Chorus* Chorus Master – John McCarthy Composed By – Giuseppe Verdi Conductor – Lamberto Gardelli Liner Notes – Hans Christoph Worbs Mezzo-soprano Vocals – Helen Lawrence Orchestra – London Philharmonic Orchestra* Soprano Vocals – Andrew Dance, Elena Suliotis*, John Noble Tenor Vocals – Luciano Pavarotti, Ricardo Cassinelli Other versions Category Artist Title (Format) Label Category Country Year Verdi*, Souliotis*, Fischer- Verdi*, Souliotis*, Dieskau*, Pavarotti*, Fischer-Dieskau*, Ghiaurov*, The Ambrosian Pavarotti*, Ghiaurov*, The SET 539 Opera Chorus, London
[Show full text]
Verdi's Macbeth
Verdi’s Macbeth - A Survey of the Major Recordings by Ralph Moore Although Macbeth was still a product of his anni di galera, Verdi was able to expend more time, care and effort over it than he had had for his previous operas, working closely with Piave, his first librettist, then the poet Maffei to ensure that the spirit and even precisely some of the language (translated into Italian, obviously) of his beloved Shakespeare infused the work, and giving his singers close instructions regarding how he wanted it performed. As such, it was a watershed opera, representing a great leap forward in both his music and dramaturgy. He had the further advantage of a star baritone playing the lead role; Felice Varesi enjoyed the greatest success of his career at its premiere in 1847. As a result, despite some stylistic infelicities and a certain incongruity between the earlier, rum-ti-tum style of its original form and the sophistication of the later additions, Macbeth, having largely dropped out of sight until it was revived post WW2, is now deservedly popular and frequently staged. It is today almost invariably heard in the revision which Verdi made for Paris in 1864. One live performance and one studio recording below present the 1847 original; the latter is included here merely for its comedy value. There is also a recording of a live performance given at the Valle d'Itria Festival, Martina Franca in 1997 which I have not heard but by all accounts is not as well sung as the 1978 live recording on Opera Rara.
[Show full text]
Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi.
[Show full text]
Godetevi Stiffelio. Perché Di Verdi Non C'è Solo La Traviata
Godetevi Stiffelio. Perché di Verdi non c’è solo La Traviata Giuseppe Verdi ritratto nel 1886 da Giovanni Boldini “Sai, naturalmente, che i Tasmaniani che non commettevano mai adulterio si sono estinti“ William Somerset Maugham (The Breadwinner). Lo stiffelius era, fino al XX secolo, una giacca scura, lunga fino al ginocchio, aperta posteriormente, a petto unico, con revers slanciati, indossata da benestanti e persone di ceto superiore (una volta era l’abito dei senatori). Era chiamata anche redingote (da “riding coat”) o finanziera. Un’opera che ha come titolo il nome di un abito? Ma è stato il personaggio dell’opera a dare il nome alla giacca lunga, non viceversa…. Stiffelio (italianizzazione di Stiffelius) è il nome di un protagonista di una novella francese, poi adattata a commedia di Émile Souvestre e Eugène Bourgeois, che era stata tradotta in italiano da Gaetano Vestri, Le Pasteur, ou l’Evangile et le Foyer, rappresentata nel febbraio 1849. Cerchereste invano nel Lanson (“Histoire illustrée de la littérature française”) i loro nomi. Souvestre viene altrove ricordato come un bretone, scrittore morale, pieno di buoni propositi, un po’ noioso, e Bourgeois, suo parente e collaboratore, un notaio, che decedette precocemente a soli 29 anni. Nella storia vi sono due personaggi con questo nome: un monaco, seguace di Lutero, che finì la sua vita come professore di matematica a Jena e un guaritore, discepolo di un pittore di nome Müller, agli inizi del 1800 (almeno così riporta la bibbia su Verdi del Budden). Il dramma dell’uomo tradito negli affetti familiari era di moda nell’Ottocento.
[Show full text]
Verdi Booklet Rz Layout 1 31.10.13 17:37 Seite 1
900904_Verdi_Booklet_rz_Layout 1 31.10.13 17:37 Seite 1 VERDI DAS WAHRE ERFINDEN EINE HÖRBIOGRAFIE VON JÖRG HANDSTEIN 900904_Verdi_Booklet_rz_Layout 1 31.10.13 17:37 Seite 2 GIUSEPPE VERDI 1813–1901 Bonustrack: Giuseppe Verdi Inno popolare 03 „Suona la tromba“ (Fassung mit Klavier) 4:20 DAS WAHRE ERFINDEN 04 „Suona la tromba“ (A-cappella-Fassung) 3:23 Eine Hörbiografie von Jörg Handstein Chor des Bayerischen Rundfunks CD 1 Max Hanft Klavier Peter Dijkstra Leitung 01 Kapitel 1: Von der Dorfkirche an die Scala (1813-1839) 23:46 Total time 57:32 02 Kapitel 2: Auf der Galeere (1840-1846) 23:56 03 Kapitel 3: Viva Italia! (1847-1849) 23:32 Udo Wachtveitl Erzähler Total time 71:17 Hans Jürgen Stockerl Giuseppe Verdi CD 2 Katja Amberger Giuseppina 01 Kapitel 4: Peppino und Peppina (1849-1853) 23:53 Gert Heidenreich, Folkert Dücker, Beate Himmelstoß Zitate 02 Kapitel 5: Viva V.E.R.D.I. (1853-1861) 23:31 Jörg Handstein Autor 03 Kapitel 6: Keine Ruhe im Land (1861-1869) 23:44 Ulrike Schwarz, Fabian Zweck Tonregie und Technik Total time 71:12 Bernhard Neuhoff Redaktion und Regie CD 3 01 Kapitel 7: National und triumphal (1869-1878) 24:28 02 Kapitel 8: Wer zuletzt lacht... (1879-1901) 25:07 Aufnahme „Suona la tromba“: 23.09.2013, Studio 2 (BR), Tonmeister: Jörg Moser; © Ricordi Milano Fotos: Giuseppe Verdi (Cover) C Achille Ferrario, Milano, 1893; Giuseppe Verdi (S. 4+19) C Giovanni Boldini, 1886; Eine Auflistung der Musikbeispiele finden Sie ab Seite 12 Revolution in Mailand (S. 9) C Felice Donghi · Design: [ec:ko] communications Editorial: Andrea Lauber.
[Show full text]
Verdi Nabucco Mp3, Flac, Wma
Verdi Nabucco mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Nabucco Country: Spain Released: 1981 Style: Romantic, Opera MP3 version RAR size: 1407 mb FLAC version RAR size: 1849 mb WMA version RAR size: 1347 mb Rating: 4.1 Votes: 534 Other Formats: WMA MIDI APE DXD MP1 AIFF VOC Tracklist Atto 1. 1-1 Sinfonia 7:04 1-2 Gli Arredi Festivi Giu Cadano Infranti... 5:11 1-3 Sperate, O Figli! 6:10 1-4 Come Notte A Sol Fulgente 3:21 1-5 Fenena!...O Mia Diletta! 2:00 1-6 Prode Guerrier! 4:55 1-7 Lo Vedeste? 1:52 1-8 Viva Nabucco! 3:10 1-9 Trimin Glinsani Del Mio Furore! 3:45 1-10 O Vinti, Il Capo A Terra! 1:00 1-11 Mio Furor, Non Piu Costretto 3:31 Atto 2. 1-12 Ben Io T'invenni, O Fatal Scritto! 3:32 1-13 Anch'io Dischiuso Un Giomo 4:21 1-14 Salgo Gia Del Trono Aurato 3:12 2-1 Vieni, O Levita 4:49 2-2 Che Si Vuol Il Maledetto Non Ha Fratelli 2:40 2-3 Deh, Fratelli, Perdonate! 2:11 2-4 S'appressan Gl'istanti 3:23 2-5 S'oda Or Me 2:35 2-6 Chi Mi Toglie Il Regio Scettro 2:59 2-7 E L Assiria Una Regina 6:11 2-8 Donna, Chi Sei 7:13 2-9 Deh Perdona 3:21 2-10 Va Pensiero Sull'alli Dorate 4:43 2-11 Oh, Chi Piange Del Futuro Nel Buio Discerno 4:12 2-12 Son Pur Queste Mie Membra 5:05 2-13 Dio Di Guida 3:44 2-14 Cadran Cadranno I Perfidi 1:55 2-15 Marcia Funebre 2:52 2-16 Oh Dischiuso E Il Firmamento 1:54 2-17 Viva Nabucco 7:28 Credits Baritone Vocals – Tito Gobbi Bass Vocals – Carlo Cava, Giovanni Foiani Choir – Wiener Staatsopernchor (tracks: Konzertvereinigung Wiener Staatsopernchor) Composed By – Giuseppe Verdi Conductor – Lamberto Gardelli Orchestra – Orchester Der Wiener Staatsoper (tracks: Wiener Opernorchester) Soprano Vocals – Anna D'Auria, Dora Carral, Elena Souliotis Tenor Vocals – Bruno Prevedi, Walter Kräutler Notes Includes the Spanish booklet.
[Show full text]