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Il Mondo Della Luna

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Pedro António AVONDANO (1714–1782) Il mondo della luna Guimarães • Rodrigues Cabral • Fernandes Gaspar • Caramujo • Simões Os Músicos do Tejo Marcos Magalhães 1 % Sinfonia: Allegro assai 2:02 Aria La ragazza col vecchione; viva, viva Pedro António 2 3 Sinfonia: Andante 2:12 (Buona Fede) 3:43 Sinfonia: Allegro 0:22 4 Scene 4 AVO(17N14–D178A2) NO Sinfonia: Presto 0:46 ^ Recitative Io la caccia non fo alle sue monete Act I & (Ecclitico, Ernesto, Cecco) 2:03 Il mondo della luna Aria Un poco di denaro e di giudizio 5 Scene 1 (Ecclitico) 3:15 Opera in three acts (1765) Prendiamo, fratelli, il gran telescopio Libretto by Carlo Goldoni (1707–1793) 6 (Chorus) 1:59 * Scene 7 Sung in Italian Recitative Oh le gran belle cose (Ecclitico) 3:49 Recitative Eh venite, germana First performance: Royal Theatre of Salvaterra, carnival season of 1765 ( (Clarice, Flaminia) 1:43 Scene 2 Aria Ragion nell’alma siede regina Si può entrar? (Ecclitico, Buona Fede) Ecclitico . Fernando Guimarães, Tenor de’ pensieri (Flaminia) 4:12 Buona Fede . Luís Rodrigues, Bass Scene 3 ) Scene 8 Ernesto . João Pedro Cabral, Tenor 7 Servitor obbligato (Buona Fede) Recitative Brava, Signora figlia Cecco . João Fernandes, Bass Chorus Felice e fortunato chi è amico della Luna (Buona Fede, Clarice) 0:52 (Students, Buona Fede, Ecclitico) 1:55 ¡ Clarice . Susana Gaspar, Soprano 8 Aria Son fanciulla da marito (Clarice) 3:47 Recitative Olà, Claudio, Pasquino Flaminia . Carla Caramujo, Soprano 9 (Ecclitico, Buona Fede) 0:44 ™ Scene 9 Lisetta . Carla Simões, Soprano Cavatina Ho veduto una ragazza Recitative Se mandarla potessi nel mondo Coro di scolari e cavalieri 0 un vecchietto innamorare (Buona Fede) 1:07 £ della Luna (Buona Fede, Lisetta) 2:31 Arthur Filemon, Rodrigo Carreto, Carlos Monteiro, Rui Bôrras Recitative Se una ragazza fa carezze Aria Una donna come me, non vi fu, ! a un vecchio (Ecclitico, Buona Fede) 0:27 né vi sarà (Lisetta) 3:43 Aria Ho veduto un bon marito bastonar Os Músicos do Tejo (on period instruments) ¢ Scene 10 @ la propria moglie (Buona Fede) 1:11 Baptiste Lopez (leader), Sara Llano, Lígia Vareiro, Álvaro Pinto, Recitative Volesse il Ciel che quanto fintamente Recitative Ehi, Signor Buona Fede, Denys Stetsenko, David Ascensão, Vasken Fermanien, Violin ∞ si può entrar? (Ecclitico, Buona Fede) 5:17 # ha mirato (Ecclitico, Buona Fede) 0:33 Pedro Braga Falcão, Lúcio Studer, Viola • Pedro Massarrão, André Alves, Cello Aria Ho veduto dall’amante per il naso Quartet Vado; volo (Buona Fede, Ecclitico, Clarice, Lisetta) 7:03 Pedro Wallenstein, Marc Ramirez, Double bass $ esser menata (Buona Fede) 1:17 Olavo Barros, Sofia Cosme, Traverso • Luís Marques, Laura Marcos, Oboe Recitative Caro Signor Ecclitico, ho veduto Paulo Guerreiro, Pedro Pereira, Horn • Hugo Santos, Daniel Louro, Trumpet gran cose (Buona Fede, Ecclitico) 0:15 Mélodie Michel, Bassoon • Marta Araújo, Marcos Magalhães (recits), Harpsichord Marcos Magalhães, Conductor m Act II ° Scene 8 Act III Recitative Oh figlia, oh sangue mio, Recitative Dove mi conducete; siete sbirri, nel vederti gioir, giubilo anch’io Scene 2 Scene 1 § sicari, o ladri siete? f (Buona Fede, Cecco, Ecclitico, Clarice) 0:45 Recitative Buona Fede ancor dorme Recitative Olà, paggi, e staffieri, camerieri n (Lisetta, Ecclitico, Buona Fede) 3:20 Duet Sposina mia cara, mia cara sposina (Ecclitico, Buona Fede) 1:59 (Lisetta) 2:30 ¶ (Ecclitico, Clarice) 3:43 Sinfonia Andante assai 1:06 o • Scene 9 Recitative Cara la mia figliuola, il vederti Recitative Bravi, bravissimi g Scene 2 · Quello è il padrone? È lui (Lisetta, Buona Fede) contenta mi consola (Buona Fede, Cecco) 0:53 (Buona Fede, Ecclitico) 0:42 Recitative Divertiamoci un poco 1:45 p Duet Padroncino caro, caro padroncino Aria Qua la mano: io v’unisco in matrimonio (Lisetta, Buona Fede) 4:42 Scene 3 (Buona Fede) 2:30 ª Scene 3 q Possibile, o Lisetta, che ti lasci acciecar Chorus Uomo felice cui goder lice di questo Scene 10 Recitative Orsù tutto è finito ‚ dall’ambizione? (Flaminia, Clarice, Lisetta) mondo l’alta beltà Recitative Olà, presto fermate Buona Fede, h r (Cecco, Ecclitico, Ernesto, Buona Fede) 0:44 Aria Ah, pur troppo il nostro core (Flaminia) 4:45 Finale Buona Fede tondo come il cerchio º (Knights, Ecclitico, Buona Fede) 2:11 e Lisetta (Cecco, Buona Fede, Lisetta) 1:37 della Luna Recitative Come avrò a contenermi? Scene 4 Scene 11 i (Cecco, Ecclitico, Ernesto, Buona Fede, (Buona Fede, Ecclitico) 0:20 a Recitative Oh guardate, garbata signorina! Sinfonia Andante 1:30 Lisetta, Flaminia, Clarice) 4:18 b (Lisetta) 0:47 Scene 5 j ⁄ Recitative Figlie, mie care figlie, Aria Quando si trovano le basse femmine ¤ Sinfonia Moderato 1:10 siate le ben venute (Lisetta) 2:36 Recitative Umilmente m’inchino (Buona Fede, Flaminia, Cecco, Ernesto) 2:30 a vostra Maestà Scene 6 Scene 12 k ‹ (Buona Fede, Cecco, Ernesto) 3:45 Recitative Sposa, venite in trono Mia sorella sta bene, ed io cosa farò? Aria Un avaro suda e pena, e poi crepa (Cecco, Ernesto, Flaminia) 1:02 (Buona Fede, Cecco, Clarice, Ecclitico) l e se ne va (Cecco) 4:16 c Duet Cara ti stringo al seno Aria Quanta gente che sospira di veder (Ernesto, Flaminia) 2:45 › Scene 6 cos’è la Luna (Clarice) 4:42 Recitative Voi avete due figlie? Scene 13 fi (Ernesto, Buona Fede) 0:31 d Aria Qualche volta non fa male il contrasto Recitative Ed io son stata qui con poca This recording uses the abbreviated edition of the opera commissioned in 1994 by ed il rigore (Ernesto) 3:57 conclusione, come una Imperatrice di cartone the Teatro Nacional de São Carlos, Lisbon, in which some scenes, arias and recitatives are omitted. (Lisetta, Cecco, Buona Fede) 0:45 Scene 7 fl e Scene 14 Recorded: 24–26 September 2017 at the Teatro Thalia, Lisbon, Portugal Recitative Oh che mondo felice! Quartet Mia Principessa, mia Monarchessa, Producer: Alexandre Delgado • Engineer and editor: Hugo Leitão ‡ Oh che bel mondo! (Buona Fede, Echo) 1:24 tutto vi dono, tutto, lo scettro e il cor Aria Che mondo amabile, (Cecco, Lisetta, Ecclitico, Buona Fede) 6:09 che impareggiabile felicità! (Buona Fede) 4:51 Pedro António Avondano (1714–1782) season of 1765), Piccinni (Milan, 1770), Astarita (Venice, With its Classical characteristics, Avondano’s Il mondo della luna (1765) 1775), Haydn (Eszterháza, 1777), Paisiello (Florence, score reflects the period in which it was written. In 1792) and Arici (Palazzolo, 1809). general here, themes are short and phrases are clearly The Life and Times of Pedro António Avondano Pedro António Avondano was baptised in Lisbon on Il mondo della luna is written in three acts. Act I sets marked out by well-defined cadences. Larger-scale 16 April 1714 (and must therefore have been born a few out and develops the plot, clearly defines its objectives, and sections are based not on a single idea but on varied The succession of Joseph I to the Portuguese throne in days earlier), and died there in 1782. His father, Pietro builds up to the first major part of the story: the journey. and contrasting motifs, closely linked to the text and 1750 was marked by a much greater separation of Giorgio Avondano, originally from Genoa, had come to This is where the action is forged – an act based on reason. the settings. There is very little contrapuntal imitation Church and State than had been the case during the reign the Portuguese capital at the age of 19 and was Act II , centred on the fine line between love and and he uses simple harmonic progressions, frequently of his father, John V. A great lover of both hunting and employed as a first violinist in John V’s royal chapel; his jealousy (with Lisetta at its heart), consists of a alternating between major and minor modes; most music, Joseph seems not to have taken much interest in mother had been born in the French city of Nantes. Pedro ‘crescendo of illusion’, which continues to build from the numbers are in major keys. The textures are generally actually ruling his country – he handed that responsibility António followed in his father’s footsteps and between moment Buona Fede wakes up on the moon until light, with the melody largely predominating. The to the Marquis of Pombal, who became its de facto ruler, 1754 and 1782 worked as a violinist of the royal chapel. Lisetta is crowned queen. All about false appearances, orchestra plays a very active role in accompanying, crushing all opposition, whether it came from the clergy One of his duties was to write music for the ballets that this is the dramatic climax of the work – an act based on creating internal dialogues as well as participating in (he expelled the Jesuits from Portugal and its empire) or accompanied opera performances, and in the second half emotion. dialogues with the vocal line, and in evoking different the nobility. He implemented significant and innovative of the 18th century he was Portugal’s leading composer of The first four scenes of Act III deal with social atmospheres. By providing appropriate emphasis and reforms that boosted the Portuguese economy and, in instrumental music, with keyboard pieces, chamber music aspiration and power. The final scene ties up the loose colour, the music is highly effective in serving the text some sectors of society, led to the creation of cultural – notably minuets – and orchestral works to his name. ends and provides the tale with its natural dénouement. and the different dramatic situations that arise. Il activities that had not previously existed. The Brotherhood of St Cecilia was a religious Buona Fede is a social climber, probably wealthy, mondo della luna reveals Pedro António Avondano to Both Joseph I and his wife Mariana Victoria were organisation in Lisbon which promoted charity and and expects his daughters to live by a strict moral code.
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  • De Almeida (C

    De Almeida (C

    2 CDs Francisco António DE ALMEIDA (c. 1702-c. 1755) Il Trionfo d’Amore Ana Quintans • Carlos Mena Joana Seara • Fernando Guimarães Cátia Moreso • João Fernandes Voces Caelestes Os Músicos do Tejo Marcos Magalhães cD 1 57:18 cD 2 54:00 Francisco António Parte Prima Parte Seconda Introduzione 1 Recitativo: Bendate a Arsindo i lumi, ministri 0:45 DE ALMEIDA 1 Allegro 3:04 (Mirenio, Arsindo) (c. 1702-c. 1755) 2 Andante 4:09 2 Aria: Ove mi conducesti, perfido ingrato amore 4:25 3 Allegro staccato 1:41 (Arsindo) 3 Recitativo: Non accusare amore 0:34 Il Trionfo d’Amore 4 coro: Numi eccelsi, in sì bel giorno 1:28 (Adraste, Arsindo, Giano, Nerina) Scherzo pastorale a sei voci in two parts, with instruments, 5 Accompagnato: Si sospendan le vittime 4 Recitativo: Divinità del cielo 1:15 to be sung at the Ribeira Palace, Lisbon on 27th December 1729 e gl’incensi 0:49 (Nerina) Libretto by an unknown author • The scene is a pastoral settlement in Numidia (Termosia) 5 Recitativo: Forsennata, ove corri? 1:09 6 Aria: Bel piacer è la vendetta 4:14 (Giano, Nerina) WoRLD PRemIèRe RecoRDINg (Termosia) 6 Recitativo: Oh sfortunati amanti 0:12 7 Recitativo: Da qual insania trasportato, Arsindo 0:40 (Mirenio, Adraste, Termosia, Arsindo, Giano) 7 Nerina, betrothed to Adraste, in love with Arsindo ................. Ana Quintans, Soprano (Mirenio) Aria: Orride e dispietate Furie 4:32 8 Aria: Si cinga il perfido con nodi orribili 4:32 (Giano) Arsindo, Nerina’s secret lover ........................................... carlos mena, counter-tenor (Mirenio) 8 Recitativo: Mi muore in sen la speme 1:10 Termosia, in love with Arsindo ...................................................
  • 4532.Pdf (166.8Kb)

    4532.Pdf (166.8Kb)

    PROGRAM PART ONE PART TWO Jonathan Pasternack, conductor Peter Erös, conductor Overture to LA FORZA DEL DESTINO ..... GIUSEPPE VERDI (1813-1901) from DIE WALKÜRE ..............................RICHARD WAGNER (1813-1883) Aria: “LEB’ WOHL” David Borning, baritone from LES CONTES D’HOFFMANN ... JACQUES OFFENBACH (1819-1880) Aria: “LES OISEAUX DANS LA CHARMILLE” Cecile Farmer, soprano from THE BARTERED BRIDE ............... BEDRICH SMETANA (1824-1884) Aria: “NOW, NOW MY DEAR” (VASHEK’S STUTTERING SONG) URELY YOU MUST BE THE BRIDEGROOM OF RU INA S ARIE from LA TRAVIATA ..................................................................... G. VERDI Duet: “S K ’ M ” Aria: “DE’ MIEI BOLLENTI SPIRITI” Nataly Wickham, soprano / Thomas Harper, tenor Duet: “UN DÌ FELICE” Aria: “AH FORS’ È LUI…SEMPRE LIBERA” from DIE ZAUBERFLÖTE ................................................. W. A. MOZART Tess Altiveros, soprano / David Margulis, tenor Aria: “EIN MÄDCHEN ODER WEIBCHEN” Duet: “PAPAGENA, PAPAGENO” from DIE ZAUBERFLÖTE ..................... WOLFGANG AMADEUS MOZART Faina Morozov, soprano / Drew Dresdner, baritone Aria: “ACH, ICH FÜHL’S” (1756-1791) Arian Ashworth, soprano from AÏDA .................................................................................. G. VERDI Duet: “CIEL! MIO PADRE” from CAVALLERIA RUSTICANA ........... PIETRO MASCAGNI (1863-1945) Rebecca Paul, soprano / David Borning, baritone Aria: “VOI LO SAPETE” Brittany Hines-Hill, soprano from DER ROSENKAVALIER ................ RICHARD STRAUSS (1864-1949) Trio: “MARIE THERES! HAB’