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VERDI, Anita Cerquetti, Ferruccio Tagliavini, Mario Rossi

I vespri siciliani

I vespri siciliani image
Galeria okładek

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1. Ouverture (I vespri siciliani) 2. A te, ciel natio, con dolce desio (I vespri siciliani) 3. Qual s`offre al mio sguardo (I vespri siciliani) 4. O mio fratel, Federigo! (I vespri siciliani) 5. In alto mare e Battuto dai venti, (I vespri siciliani) 6. Corragio, su, corragio, (I vespri siciliani) 7. D`ira fremo all`aspetto tremendo, (I vespri siciliani) 8. O donna! (I vespri siciliani) 9. Qual è il tuo nome? (I vespri siciliani) 10. Introduzione (I vespri siciliani) 11. O patria, o cara patria, (I vespri siciliani) 12. O tu, Palermo, terra adorata (I vespri siciliani) 13. Miei fidi amici, alfin io vi riveggo! (I vespri siciliani) 14. Quale, o prode, al tuo coraggio, (I vespri siciliani) 15. Presso alla tomba ch`apresi, (I vespri siciliani) 16. Cavalier, questo foglio... (I vespri siciliani) 17. Le vaghe spose, affé! (I vespri siciliani) 18. Il rossor mi copri (I vespri siciliani) 19. Sì, m`abborriva ed a ragion! (I vespri siciliani) 20. In braccio alle dovizie, (I vespri siciliani) 21. Sogno o son desto? (I vespri siciliani) 22. Quando al mio seno... (I vespri siciliani) 23. Mentre contemplo quel volto... (I vespri siciliani) 24. Ah! figlio, invano crudo mi chiami, (I vespri siciliani) 25. O splendide feste! O notti feconde (I vespri siciliani) 26. Di tai piacer, per te novelli, (I vespri siciliani) 27. Colpo orrendo, inaspettato! (I vespri siciliani) 28. Introduzione (I vespri siciliani) 29. È di Monforte il cenno. (I vespri siciliani) 30. Giorno di pianto, di fier dolore! (I vespri siciliani) 31. O miesi sdegni, tacete, (I vespri siciliani) 32. Non fu tua mano, o indegno, (I vespri siciliani) 33. Arrigo! Ah! parli a un core (I vespri siciliani) 34. Pensando a me! (I vespri siciliani) 35. Amica man, sollievo (I vespri siciliani) 36. Addio, mia patria, invendicato, (I vespri siciliani) 37. 'De profundis clamavi...' (I vespri siciliani) 38. O donna! O donna! (I vespri siciliani) 39. Ministro di morte, (I vespri siciliani) 40. Si celebri alfine tra i canti, (I vespri siciliani) 41. Mercé, dilette amiche, (I vespri siciliani) 42. La brezza aleggia intorno (I vespri siciliani) 43. Al tuo cor generoso, o donna, (I vespri siciliani) 44. Ecco, per l`aura spiegasi (I vespri siciliani) 45. Sorte fatale!, oh fier cimento! (I vespri siciliani) 46. in fra noi due si oppone (I vespri siciliani) 47. Ah! vieni; il mio mortale dolor (I vespri siciliani)
  • Anita Cerquetti - soprano
  • Ferruccio Tagliavini - tenor
  • Mario Rossi - conductor
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69.00 PLN

2 CD:

Nr kat.: PR20048
Label  : PREISER (Austria)

Lebendige Vergangenheit

The “Sicilian Vespers” is the name by which history remembers the massacre of some 2000 occupying French by Sicilians at Palermo on 30 March 1282. On that day, outside the Church of Santo Spirito, where people were making their way to Vespers, a Frenchman molested a passing Sicilian woman, pretending to search her. She clutched at her husband who cried “Death to the French”. From all sides the cry was taken up as the bell tolled for Vespers. Verdi’s 19th opera “I Vespri Siciliani” or rather “Les Vespres Sicilliennes” was an attempt to combine the Meyerbeer style with his own warmer, more generous musical impulses; to use the immense resources of the Paris Opera for a large, exciting opera. As early as 1850 the Opéra had approached him for a new work (Don Carlos being one of the subjects proposed). In 1852 the contract was drawn up: Scribe was to be the librettist and Verdi could choose the cast. Scribe began by submitting two scenarios which Meyerbeer had previously refused. Verdi objected. He wanted “grandiose, impassioned and original subject”; he agreed with Scribe that at the Opéra one needed” scenes with women, ballets de luxe, etc…” and he wanted something that would have spectacular production effects. In October 1883 Verdi left for Paris. Scribe offered him “Le Duc d’Albe”, a libretto written for Donizetti which the latter had not been able to set completely due to his illness and Verdi agreed to use it – providing that the title was changed, the setting shifted to a “less chilly clime than the Low Countries, a warm and musical clime” (he proposed Naples, but Scribe thought that would be too close to “La Muette de Portici”) and that a fifth act be added to make it a piece on the “Huguenots” or “Prophète” scale. The result is not a drama of characters who come to life in song but a structure involving large ensembles, elaborate spectacle, local colour, intricate and novel orchestral effects and virtuoso singers.