Adaneth - Arts & Literature

A 1991 Production of Danmarks Radio and Monarda Arts. Chopiniana, Petrushka, Barber's Adagio, Le Corsaire, The Fairy Doll, Markitenka, Paquita. Works of Fréderic Chopin, Igor Stravinsky, Samuel Barber, Adolphe Adam, Joseph Bayer, Cesare Pugni and Ludwig Minkus. Soloists: Altynay Asylmuratova, Konstantin Zaklinsky, Sergey Vikharev, Yelena Yevteeva, Eldar Aliev, Lyubov Kunakova, Farukh Ruzimatov, Larissa Lezhnina, Yelena Pankova, Yulia Makhalina, Igor Zelensky and the Mariinsky Theater Corps de Ballet. Artistic Director: Oleg Vinogradov Orchestra of the Mariinsky Theatre Conducted by Victor A. Fedotov Produced and Directed by Thomas Grimm Chopiniana Choreography by Mikhail Fokine Music by Fréderic Chopin Scenery Design by Michael Bocharov Dancers: Mazurka & Waltz No. 7 Altynay Asylmuratova Konstantin Zaklinsky Dancer: Waltz No. 11 Yelena Pankova Dancer: Prelude Anna Polikarpova Corps de Ballet Petrushka: https://rumble.com/v4runpu-kirov-classics-petrushka.html

Libretto & Choreography: Oleg Vinogradov Music by Igor Stravinsky Sets and Costumes by Irina Press, Vyastislav Okunov Dancers: Sergi Vikharev as Petrushka Corps de Ballet Barber's Adagio: https://rumble.com/v4rupif-kirov-classics-barbers-adagio.html

Choreography & Costumes: Oleg Vinogradov Music: 'Adagio for Strings' by Samuel Barber Dancers: Yelena Yevteeva Eldar Aliev Le Corsaire - Pas de Deux: https://rumble.com/v4rur45-kirov-classics-le-corsaire-pas-de-deux.html

Choreography by Marius Petipa Music by Adolphe Adam & Riccardo Drigo Dancers: Lybov Kunakova Faroukh Ruzimatov

Choreography by: Nicolai & Sergei Legat Music by Joseph Bayer Dancers: Larissa Lezhnina Dmitry Gruzdev Yaroslav Fadayev Markitenka - Pas de Six: https://rumble.com/v4ruvc8-kirov-classics-markitenka-pas-de-six.html

Choreography by Arthur Saint-Léon Music by Cesare Pugni Dancers: Yelena Pankova Sergei Vikharev Irina Sitnikova Alexandra Koltun Irina Zhelonkina Olga Melnikova Paquita: https://rumble.com/v4ruwje-kirov-classics-paquita.html

Composer: Giaochino Rossini Librettist: Jacopo Ferretti Premiere: 25 January 1817, Rome (Teatro Valle) Language: Italian Subtitles: Italian, English (Click on CC for subtitles) La Cenerentola, ossia La bontà in trionfo ("Cinderella, or Goodness Triumphant") is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the libretti written by Charles-Guillaume Étienne for the opera Cendrillon with music by Nicolas Isouard (first performed Paris, 1810) and by Francesco Fiorini for Agatina, o la virtù premiata [it] with music by Stefano Pavesi (first performed Milan, 1814). All these operas are versions of the fairy tale Cendrillon by Charles Perrault. Rossini's opera was first performed in Rome's Teatro Valle on 25 January 1817. In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified not by a glass slipper but by her bracelet. The supernatural elements that traditionally characterize the Cinderella story were removed from the libretto simply for ease of staging. Time: Late 18th century – early 19th century Place: Salerno (Italy) Synopsis: https://www.opera-arias.com/rossini/la-cenerentola/synopsis/ In 1981 Jean-Pierre Ponnelle revisited his classic '73 La Scala production of La Cenerentola to create this film version - with Federica von Stade at her bel canto peak as the downtrodden Angelina. Under the guiding hand of Claudio Abbado, Rossini comes to life here in a performance of clarity and polish by the La Scala Chorus and Orchestra that lets the music shine. Cast & Characters: Cenerentola - Frederica Von Stade Don Ramiro - Francisco Araiza Dandini - Claudio Desderi Don Magnifico - Paolo Montarsolo Clorinda - Margherita Guglielmi Tisbe - Laura Zannini Alindoro - Paul Plishka Teatro alla Scala Orchestra & Chorus Harpsichord: Vincenzo Scalera Conductor: Claudio Abbado Chorus Master: Romano Gandolfi Staged, Directed and Designed by Jean-Pierre Ponnelle Director of Photography: David Watkin

A 1979 videotaped version of Trevor Nunn's Royal Shakespeare Company production of the play by William Shakespeare. Produced by Thames Television, it features Ian McKellen as Macbeth and Judi Dench as Lady Macbeth. The TV version was directed by Philip Casson. The original stage production was performed at The Other Place, the RSC's small studio theatre in Stratford-upon-Avon. It had been performed in the round before small audiences, with a bare stage and simple costuming. The recording preserves this style: the actors perform on a circular set and with a mostly black background; changes of setting are indicated only by lighting changes. Cast & Characters: Ian McKellen as Macbeth Judi Dench as Lady Macbeth John Bown as Lennox Susan Dury as 3rd Witch / Lady Macduff Judith Harte as 2nd Witch / Gentlewoman Greg Hicks as Donalbain / Seyton David Howey as Sergeant / 1st Murderer / Doctor Griffith Jones as Duncan Marie Kean as 1st Witch Ian McDiarmid as The Porter / Ross Bob Peck as Macduff Duncan Preston as Angus Roger Rees as Malcolm Zak Taylor as Fleance / Messenger Stephen Warner as Young Macduff John Woodvine as Banquo

ACT II - The Tower of London Anna is imprisoned in the Tower. She prays for peace and solace. Giovanna appears and informs Anna that the king, and her successor, will spare her life if she confesses her guilt. When Giovanna admits that she is to be the new queen, Anna demands that she leave. Giovanna prostrates herself and begs for forgiveness. News arrives that Smeton has confessed to having had an affair with Anna, having been told that this would spare her life. Enrico bursts in and repeats Smeton's confession. Anna turns it back on the king. Giovanna confronts Enrico, and urges forgiveness and caution. In the Tower Anna recalls her childhood home, and the simplicity of her first love, and as she is summoned to the scaffold she sings a prayer. As cannon fire signals the marriage of Enrico and Giovanna, Anna calls on God to have mercy on the guilty couple. Subtitles: Italian, English, German, French,Spanish (Click on CC to switch on the subtitles).

Composer: Gaetano Donizetti Librettist: Felice Romani after the play Henry VIII by Marie-Joseph de Chenier (1791) and the play Anna Bolena by Alessandro Pepoli (1788) Premiere: 26 December 1830 - Milan (Teatro Carcano) Language: Italian Subtitles: Italian, English, German, French,Spanish (Click on CC to switch on the subtitles). Act II: https://rumble.com/v4qnzqw-donizetti-anna-bolena-act-ii-netrebko-garana-pid-wiener-staatsoper-2011.html Anna Bolena is a tragic opera (tragedia lirica) in two acts composed by Gaetano Donizetti. Felice Romani wrote the Italian libretto after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena and Alessandro Pepoli's Anna Bolena, both recounting the life of Anne Boleyn, the second wife of England's King Henry VIII. It is one of four operas by Donizetti dealing with the Tudor period in English history—in composition order, Il castello di Kenilworth (1829), Anna Bolena (1830), Maria Stuarda (named for Mary, Queen of Scots, it appeared in different forms in 1834 and 1835), and Roberto Devereux (1837, named for a putative lover of Queen Elizabeth I of England). The leading female characters of the latter three operas are often referred to as "the Three Donizetti Queens." Cast & Characters: Enrico VIII - Ildebrando D'Arcangelo Anna Bolena - Anna Netrebko Giovanna Seymour - Elina Garanča Lord Riccardo Percy - Francesco Meli Smeton - Elisabeth Kulman Sir Hervey - Peter Jelosits Lord Rochefort - Dan Paul Dumitrescu Wiener Staatsoper Orchestra & Chorus Conductor: Evelino Pidò Chorus Masters: Thomas Lang, Martin Schebesta Stage Director: Eric Genovese Set Designers: Jacques Gabel, Claire Sternberg Costume Designer: Luisa Spinatelli Recorded Live in 2011 Anna Bolena premiered on 26 December 1830 at the Teatro Carcano in Milan, to "overwhelming success." Weinstock notes that only after this success did Donizetti's teacher, Johann Simon Mayr, "address his former pupil as Maestro." The composer had begun "to emerge as one of three most luminous names in the world of Italian opera", alongside Bellini and Rossini. After the rise of verismo, the opera was performed infrequently. Rarely seen in the first half of the 20th century, it was revived more frequently after World War II. On 30 December 1947, the opera was performed at Gran Teatre del Liceu in Barcelona, to mark that theatre's centennial (it had opened in 1847 with Anna Bolena). The cast was Sara Scuderi as Anna, Giulietta Simionato as Jane Seymour and Cesare Siepi as Henry VIII. In April 1957, the opera was revived at La Scala for Maria Callas (one of the seven performances was recorded) in a lavish production directed by Luchino Visconti, with Giulietta Simionato as Jane Seymour. It proved to be one of Callas' greatest triumphs. In the revival the following year, Callas and Simionato repeated their roles and were joined by Siepi as the king, this role having been sung by Nicola Rossi-Lemeni at the premiere the year before. Several famous modern sopranos have lent their voices to the role, including Leyla Gencer, Montserrat Caballé, Marisa Galvany, Renata Scotto, Edita Gruberova and Mariella Devia. In the 1970s, Beverly Sills earned a considerable degree of fame when she appeared in all three of Donizetti's "Tudor" operas at the New York City Opera. And Anna was one of the last new roles performed by Dame Joan Sutherland, at San Francisco Opera in 1984. SYNOPSIS Time: 1536 Place: Windsor and London ACT I - Windsor Castle The courtiers predict doom for Anna Bolena. Giovanna Seymour, one of her ladies-in-waiting has caught the eye of King Enrico VIII. Alone in her apartments, Anna asks the court musician, Smeton, to play for her. The sadness of his song upsets the queen (with whom he is in love) and she laments the emptiness of her life. Giovanna begins to suspect that Anna knows about her and the king. When the king enters she informs him she wishes to end their meetings. He tells he, that she will soon have no rival for his affections. Giovanna is adamant but the angry Enrico accuses her of loving the throne, not its occupant. She is consumed with remorse. The king sets about orchestrating Anna's ruin by arranging for her to come across her former lover, Lord Riccardo Percy, during a hunt. Percy confesses his love for Anna, but she demands that they do not see each other again. When Percy draws his sword to kill himself, Smeton misinterprets his actions and draws his own weapon. As Anna faints, Enrico bursts in and his wife is compromised. The king assumes the worst, and demands that Anna be tried.

Composer: Giuseppe Verdi Librettist: Francesco Maria Piave Premiere: 6 March 1853, Venice (La Fenice) Language: Italian Subtitles: Italian, English (Click on CC for subtitles) La Traviata Synopsis: https://www.opera-arias.com/verdi/la-traviata/synopsis/ La traviata (The Fallen Woman)is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux camélias (1852), a play by Alexandre Dumas fils, which he adapted from his own 1848 novel. The opera was originally titled Violetta, after the main character. It was first performed on 6 March 1853 at La Fenice opera house in Venice. La traviata became one of the most frequently performed operas during Verdi's lifetime. It is often ranked highly on annual lists of most performed operas. Cast & Characters: Violetta Valery - Angela Gheorghiu Alfredo Germont - Ramón Vargas Giorgio Germont - Roberto Frontali Flora Bervoix - Natascha Petrinsky Annina - Tiziana Tramonti Gastone - Enrico Cossutta Dottore Grenvil - Luigi Roni Barone Douphol - Alessandro Paliaga Marchese d'Obigny - Piero Terranova Orchestra, Chorus and Ballet of Teatro alla Scala Conductor: Lorin Maazel Chorus Master: Bruno Casoni Stage Director: Liliana Cavani Renewal by Marina Bianchi Directed for Video and TV by Paola Longobardo Set Design: Dante Ferretti Costumes: Gabriella Pescucci Choreography: Micha von Hoecke

Composer: Gaetano Donizetti Librettist: Salvatore Cammarano, after Sir Walter Scott's 'The Bride of Lammermoor' Premiere: 26 Septemberr 1835, Naples (Teatro San Carlo di Napoli) Language: Italian Translation: Italian and English subtitles (Click on CC to switch on subtitles) Lucia di Lammermoor Synopsis: https://www.opera-arias.com/donizetti/lucia-di-lammermoor/synopsis/ Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Italian composer Gaetano Donizetti. Salvadore Cammarano wrote the Italian-language libretto loosely based upon Sir Walter Scott's 1819 historical novel The Bride of Lammermoor. The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods. The setting is the Lammermuir Hills of Scotland (Lammermoor) in the 17th century. Cast & Crew: Miss Lucia - Renata Scotto Sir Edgardo Di Ravenswood - Carlo Bergonzi Lord Enrico Ashton - Mario Zanasi Lord Arturo Bucklaw - Angelo Marchiandi Raimondo Bidebent - Plinio Clabassi Alisa - Mirella Fiorentini Normanno - Giuseppe Baratti The NHK (Nippon Hoso Kyokai) Symphony Orchestra Conductor - Bruno Bartoletti Tokyo Philharmonic Chorus Chorus Master - Yoichiro Fukunaga Momoko Tani Ballet Troupe Choreographer - Goro Arima Sankikai Theatrical Company Stage Director - Bruno Nofri Scenery - Enzo Deho Costume Design - Marcello D'Ellena Recorded Live, September 1967, Tokyo Bunka Kaikan La Scala Tour in Japan 1967. Donizetti wrote Lucia di Lammermoor in 1835, when he was reaching the peak of his reputation as an opera composer. Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premiere of Lucia leaving Donizetti as "the sole reigning genius of Italian opera". Not only were conditions ripe for Donizetti's success as a composer, but there was also a widespread interest in the history and culture of Scotland. The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 19th century readers and audiences. After World War II, a number of sopranos were instrumental in giving new life to the opera, including Maria Callas (with performances from 1954 at La Scala and Berlin in 1955 under Herbert von Karajan) and Dame Joan Sutherland (with 1959 and 1960 performances at the Royal Opera House Covent Garden). An aria from the opera, "Il dolce suono", is featured in the film The Fifth Element.

Composer: Vincenzo Bellini Librettist: Felice Romani Premiere: 26 December 1831, Milan (La Scala) Language: Italian Subtitles: Italian, English (Click on CC to choose the subtitles) Norma is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after Norma, ossia L'infanticidio (Norma, or The Infanticide) by Alexandre Soumet. Norma is an example of the supreme height of the bel canto tradition. Cast & Characters: Norma - Montserrat Caballé Adalgisa - Josephine Veasey Pollione - Jon Vickers Oroveso - Agostino Ferrin Clotilde - Marisa Zotti Flavio - Gino Sinimberghi Teatro Regio di Torino Orchestra & Chorus Conductor: Giuseppe Patanè Director: Pierre Jourdan Theatre Antique d'Orange July 20th, 1974 The title role—"one of the most taxing and wide-ranging parts in the entire repertory"—is one of the most difficult in the soprano repertoire. The German soprano Lilli Lehmann once remarked that the singing of all three Brünnhilde roles of Wagner's opera cycle Der Ring des Nibelungen in one evening would be less stressful than the singing of one Norma. The Premiere cast in the main roles were; Giuditta Pasta, for whom the role of Norma was created, Domenico Donzelli as Pollione, Giulia Grisi as Adalgisa, and Vincenzo Negrini as Oroveso. Among the well known singers of Norma of the first half of the 20th century was Rosa Ponselle who played the role in New York and London. During the later 20th century, with the bel canto revival, the most prolific Norma was the Greek-American soprano Maria Callas, who gave 89 stage performances (several of which exist on live recordings as well as two on studio versions made in 1954 and 1960). Notable exponents of the title role during the 60'-70's were Leyla Gencer, Joan Sutherland, and Montserrat Caballé. SYNOPSIS: Place: Gaul Time: c. 100-50 BC (Roman occupation) ACT I: Gaul during the Roman occupation. Pollione, the Roman consul, has abandoned Norma, the Druid high priestess (by whom he has two sons) in favour of Adalgisa, an acolyte. Norma is unaware of Pollione's infidelity. Despite ominous dreams, Pollione decides to take Adalgisa back to Rome and marry her. Norma is shattered to discover that Adalgisa's lover is none other than Pollione, while Adalgisa is horrified to learn that Pollione is intending to abandon Norma. ACT II: Norma wrestles with her conscience as she contemplates the murder of her children. She manages to restrain herself and decides to entrust them to Adalgisa's care. Adalgisa renounces Pollione to Norma and, swearing never to love him again, promises to persuade him to return to the mother of his children. When Norma learns of Adalgisa's failure to achieve this goal, she incites the Gauls to war against the Romans: all that is needed is a sacrifice. Pollione is captured breaking into the virgin's temple and is sentenced to death, but he still refuses to disown Adalgisa. Norma, driven to despair, orders the funeral pyre to be lit - she will take Pollione's place as the sacrifice. Her selflessness forces Pollione to reconsider and he realizes that he does in fact love Norma after all. But it is too late: after consigning her children to her father's care, she mounts the pyre, where she is joined in death by Pollione.

Un cortometraggio del 1936 prodotto dall'Istituto Nazionale Luce, con la regia di Ganni Vernuccio.

Un cortometraggio del 1949 prodotto da Opus Film, con la regia di Viviana Pasqualini. Il documentario illustra la collezione di dipinti d'arte sacra agli Uffizi dal Medioevo al Rinascimento e al Manierismo.

Un cortometraggio prodotto dalla Incom nel 1941, con la regia di regia di Edmondo Cancellieri. Si tratta di un documentario che ripercorre le principali tappe della storia della musica dalle origini al '900, offrendo parallelismi con la storia dell'arte e dell'architettura e, soprattutto, adeguati accompagnamenti musicali ora di tipo sacro, ora di genere classico, ora di carattere moderno.

Un cortometraggio prodotto dall'Istituto Nazionale Luce nel 1935 sul compositore italiano Vincenzo Bellini. Alcune delle sequenze: un ritratto ad olio di Vincenzo Bellini le immagini scorrono sulle case e le costruzioni in sasso del centro antico di Catania interno della casa dove nacque e abitò Bellini l'Etna innevato un bellissimo antico palazzo di Catania (Sangiuliano? Biscari?) veduta di Napoli con il Vesuvio sullo sfondo un disegno ritrae il colto di Maddalena Fumaroli, amata dal Bellini veduta di Napoli una via di Napoli nubi in cielo mentre il sonoro trasmette un canto di Bellini, dedicato a Maddalena Fumaroli una stampa d'epoca ritrae un edificio di Milano l'ingresso di un palazzo milanese interni sontuosi del palazzo inquadrature della mobilia, degli affreschi, degli stucchi e di altri particolari decorativi soprattutto settecenteschi dettagli di dipinti ad olio un disegno d'epoca riproduce l'interno del teatro alla Scala spartiti musicali di opere composte da Bellini serie di disegni e incisioni d'epoca che raffigurano personaggi contemporanei di Bellini pianista esegue un brano tratto dall'opera: "La straniera" vedute e scorci di Villa Turina il ritratto a matita di una giovane la locandina dell'opera: "La straniera", rappresentato al teatro alla Scala gli spartiti e i libretti dell'opera la pianista esegue altri brani tratti dalle opere di Bellini gli spartiti e i libretti de "La sonnambula" la locandina dell'opera: "La Norma" rappresentata al teatro alla Scala lo spartito musicale autografo di Bellini un dipinto ritrae una giovane donna rare immagini di repertorio dell' Ottocento che mostrano uomini e donne su un trenino a vapore che salutano un disegno ritrae l'amico di Bellini che lo ospitò a Parigi un disegno d'epoca ritrae il teatro dell'opera di Parigi la pianista esegue un brano dell'opera: "I Puritani" la tomba di Bellini

Un cortometraggio prodotto dall'Istituto Nazionale Luce nel 1943. Regia di : Piero Paolucci e Giovanni Portalupi. Direttore del coro : Pettinella, Riccardo Pianista : Cesare Boerio Pianista : Concetta Abbate Casa Verdi è una casa di riposo per cantanti e musicisti che abbiano compiuto 65 anni di età, fondata da Giuseppe Verdi il 16 dicembre 1899 e situata a Milano in piazza Buonarroti al civico 29. La Casa è di proprietà della Casa di Riposo per Musicisti - Fondazione Giuseppe Verdi alla quale il Maestro ne fece dono prima della morte. "L’ammissione degli ospiti è deliberata dal Consiglio, avuto riguardo all’età, ai bisogni e ai meriti artistici". La struttura venne eretta in stile neogotico dall'architetto Camillo Boito, fratello del celebre musicista Arrigo, amico del Maestro Verdi. Nella cripta annessa alla Casa riposano lo stesso Verdi e la seconda moglie Giuseppina Strepponi. Dal 1998 la Fondazione, per realizzare l'integrazione tra musicisti di diverse generazioni, ha provveduto a estendere la sua ospitalità, oltre che ai musicisti più anziani, anche ai giovani studenti di musica che siano meritevoli e bisognosi e che frequentino scuole di musica riconosciute nella città di Milano. La Casa è visitabile, con ingresso libero e gratuito, grazie alla collaborazione dei volontari per Il Patrimonio Culturale del Touring Club Italiano. Alcune delle sequenze: Le guglie del Duomo di Milano si vedono a malapena nella nebbia in una cripta di questa casa di riposo è sepolto Giuseppe Verdi il direttore Riccardo Pettinella dirige il coro che intona le note di Va' pensiero... la tomba del musicista con una corona di fiori fiction: due ospiti della casa di riposo ritornano dopo aver passato la serata a teatro stanza da letto: ritratto di una giovane cantante lirica costumi dell'opera Ballo in maschera appesi nella stanza facciata della casa di riposo che si riflette sul bagnato il pianista Cesare Boerio suona nel salone bellissimo, entra pian piano una donna, si tratta della pianista Concetta Abbate un gruppo di musicisti commenta l'opera Manon Lescau, e l'interpretazione di Beniamino Gigli entrando nel salone della casa

A 1975 Film-ballet of the Mosfilm based on the famous production by Yuri Grigorovich to the music of Aram Khachaturian. The work follows the exploits of Spartacus, the leader of the slave uprising against the Romans known as the Third Servile War, although the ballet's storyline takes considerable liberties with the historical record. Khachaturian composed Spartacus in 1954, and was awarded a Lenin Prize for the composition that same year. It was first staged in Leningrad on 27 December 1956, as choreographed by Leonid Yakobson, for the Kirov Theatre of Opera and Ballet (Mariinsky Theatre), where it stayed in repertory for many years, but only with qualified success since Yakobson abandoned conventional pointe in his choreography. Yakobson restaged his version for the Bolshoi in 1962 and it was part of the Bolshoi's 1962 tour to New York. The ballet received its first staging at the Bolshoi Theatre, Moscow in 1958, choreographed by Igor Moiseyev; however it was the 1968 production, choreographed by Yury Grigorovich, which achieved the greatest acclaim for the ballet. The revolutionary choreography of Yuri Grigorovich, as well as the performers of the main male roles, Vladimir Vasiliev and Maris Liepa, made this ballet immortal. Spartacus remains one of Khachaturian's best known works and is prominent within the repertoires of the Bolshoi Theatre and other ballet companies in Russia and the former Soviet Union. Cast & Characters: Vladimir Vasiliev as Spartacus, captive king of Thrace Maris Liepa as Crassus, Roman consul Natalia Bessmertnova as Phrygia, wife of Spartacus Nina Timofeev as Aegina, concubine to Crassus Choreography: Yuri Grigorovich Libretto: Yuri Grigorovich, Vadim Derbenёv Film Directors: Yuri Grigorovich, Vadim Derbenёv Bolshoi Theatre Corps de Ballet Bolshoi Theatre Orchestra Conductor: Algis Žiūraitis ACT I: The Roman consul Crassus returns to Rome from his latest conquests in a triumphal procession. Among his captives are the Thracian king Spartacus and his wife Phrygia. Spartacus laments his captivity and bids a bitter farewell to Phrygia, who is taken off to join Crassus's harem of concubines. To entertain Crassus and his entourage, Spartacus is sent into the gladiatorial ring and is forced to kill a close friend. Horrified at his deed, Spartacus incites his fellow captives to rebellion. ACT II: The escaped captives celebrate their freedom. Meanwhile, Crassus entertains the Roman patricians with lavish entertainment. Spartacus and the other escaped captives disrupt the orgy and rescue the slave women, including Phrygia. Aegina insists that Crassus pursue the slave army immediately. The lovers celebrate their escape to the "Adagio of Spartacus and Phrygia". ACT III: Aegina discovers Spartacus's camp and observes the lovers emerging from their tent the next morning. Aegina sends word to Crassus, who sends his army in pursuit. Internecine struggles break out among Spartacus's forces. Finally, Crassus's forces discover Spartacus and impale him upon their spears. Spartacus's closest followers recover his body and carry it off while Phrygia mourns her loss.

Composer: Umberto Giordano Librettist: Luigi Illica Premiere: 28 March 1896, Milan (La Scala) Language: Italian Subtitles: Italian, English, French, Spanish German(Click on CC to choose the subtitles) Andrea Chenier Synopsis: https://www.opera-arias.com/giordano/andrea-chenier/synopsis/ Andrea Chénier is a verismo opera in four acts by Umberto Giordano, set to an Italian libretto by Luigi Illica, and first performed on 28 March 1896 at La Scala, Milan. The story is based loosely on the life of the French poet André Chénier (1762–1794), who was executed during the French Revolution. The character Carlo Gérard is partly based on Jean-Lambert Tallien, a leading figure in the Revolution. It remains popular with audiences, though less frequently performed than in the first half of the 20th century. The NHK (Nippon Hoso Kyokai) Symphony Orchestra NHK Italian Opera Chorus & Fujiwara Opera Chorus & Tokyo Choirs Conductor: Franco Capuana Live Performance, October 1, 1961 Tokyo Bunka Kaikan Cast & Characters: Andrea Chénier - Mario Del Monaco Maddalena di Coigny - Renata Tebaldi Carlo Gérard - Aldo Protti Bersi - Anna di Stasio The Countess of Coigny / Madelon - Amalia Pini Majordomo / Roucher / Dumas - Silvano Pagliuca L'incredibile - Antonio Pirino Fleville / Mathieu - Arturo La Porta Fouquier-Tinville / Schmidt - Giorgio Onesti The work was first performed at the Teatro alla Scala, Milan, on 28 March 1896 with Evelina Carrera, Giuseppe Borgatti (who replaced Alfonso Garulli at the eleventh hour) and Mario Sammarco in the leading parts of soprano, tenor and baritone respectively. Rodolfo Ferrari conducted. Giuseppe Borgatti's triumph in the title role at the first performance immediately propelled him to the front rank of Italian opera singers. He went on to become Italy's greatest Wagnerian tenor, rather than a verismo-opera specialist. Other notable first performances include those in New York City at the Academy of Music on 13 November 1896; in Hamburg on 3 February 1897 under the baton of Gustav Mahler; and in London's Camden Theatre on 16 April 1903 (sung in English). Apart from Borgatti, famous Chéniers in the period between the opera's premiere and the outbreak of World War II included Francesco Tamagno (who studied the work with Giordano), Bernardo de Muro, Giovanni Zenatello, Giovanni Martinelli, Aureliano Pertile, Francesco Merli, Beniamino Gigli, Giacomo Lauri-Volpi and Antonio Cortis. Enrico Caruso also gave a few performances as Chénier in London in 1907. All of these tenors with the exception of Borgatti have left 78-rpm recordings of one or more of the part's showpiece solos. Post-war, Franco Corelli, Richard Tucker and Mario Del Monaco were the most famous interpreters of the title role during the 1950s and 1960s, while Plácido Domingo became its foremost interpreter among the next generation of tenors, although Domingo's contemporary Luciano Pavarotti also sang and recorded the work.

- DOCUMENTARY SEGMENT: By 1790, Mozart had visited Munich eight times – it usually was the first large city he passed through on his journeys and thus served as a way station for him, and his piano performances and works always were popular in Munich – but had never secured steady employment there. Munich saw important performances of many of Mozart′s works, including the world première of his 1775 opera La finta giardiniera ("The Pretend Garden-Girl") and of his 1781 opera seria Idomeneo. He played his 1788 Piano Concerto No. 26 in D major "Coronation," K. 537, at the coronation of Leopold II as Holy Roman Emperor in Frankfurt-am-Main in September 1790 and played it for the King of Naples, Ferdinand IV (1751–1825) in Munich on his way home. A noteworthy aspect of the written version of the concerto is that it does not contain all the notes of the solo part, preventing dishonest copyists from distributing the work without proper payment. In many of his piano works, Mozart expected pianists to understand what he wanted them to play from a musical sketch which required them to improvise the necessary harmonies, sometimes by sight. To this day, the "Coronation" concerto is played in this way, sometimes using cadenzas recommended by the composer or other authorities and sometimes with the individual pianist using his or her own interpretation. Music performed during the documentary includes portions of La finta giardiniera by members of the Choir of the Hungarian National Opera, Budapest, and the Symphony Orchestra of the Hungarian Radio and Television, Budpaest, conducted by Wilhelm Keitel, and of Divertimento No. 15, K. 287, by the Chamber Ensemble of the National Theatre, Prague. - CONCERT SEGMENT: Piano Concerto No. 26 in D major "Coronation," K. 537 with cadenzas by Edwin Fischer, performed by Homero Francesch with the Deutsche Kammerphilharmonie Bremen ("Bremen German Chamber Philharmonic") conducted by Gerd Albrecht, recorded in the Christian Zaiss Saal ("Christian Zeiss Hall") in Wiesbaden, Germany. Episode 13: https://rumble.com/v4npopk-mozart-on-tour-vienna-the-last-year-episode-13.html

- DOCUMENTARY SEGMENT: Between 1788 and 1790, Mozart and his wife Constanze suffered from precarious finances and the tragedy of the death of young children; only two of the five children born to them during their eight-year marriage lived to adulthood. With Constanze in fragile health from her pregnancies and taking the waters at Baden, Mozart spent 1791 – the final year of his short life – in Vienna, working to make ends meet. Spending on the arts there had declined, but Mozart earned enough to stabilize his family′s financial situation, although it remained precarious. With his own health in decline, visiting Constanze in Baden every weekend, Mozart wrote some solemn works during the year, such as the Requiem Mass in D minor, K. 626, which he never finished; it was performed at his funeral. But he also wrote lighthearted music, such the fairy-tale opera The Magic Flute, and his final piano concerto, Piano Concerto No. 27 in B-flat major, K. 595, an uplifting work that used the same melody as a children's song about a little boy wishing for the coming of spring. Music performed during the documentary includes portions of The Magic Flute by László Polgár (as Papageno), Ibolya Verebics (as Pamina), and the Symphony Orchestra of the Hungarian Radio and Television, Budpaest, conducted by Wilhelm Keitel; of the Quintet in A major for Clarinet and Strings, K. 581, by Otokar Bretšneider (clarinet) and members of the Talich Quartet; and of Piano Concert No. 27 by Aleksandar Madžar. - CONCERT SEGMENT: Piano Concerto No. 27 in B-flat major, K. 595, performed by Aleksandar Madžar with the Royal Philharmonic Orchestra conducted by André Previn, recorded in the Grosse Galerie ("Great Gallery") at Schönbrunn Palace in Vienna, Austria.

- DOCUMENTARY SEGMENT: In 1787, Mozart received an invitation to Prague to conduct his opera buffa The Marriage of Figaro. The opera was a smash hit in Prague, and led to Mozart receiving a commission to compose the music for his opera Don Giovanni to a libretto by Lorenzo da Ponte (1749–1838). Music performed during the documentary includes portions of Symphony No. 38 in D major "Prague," K. 504, by the Deutsche Kammerphilharmonie Bremen ("Bremen German Chamber Philharmonic") conducted by Gerd Albrecht; Don Giovanni, K. 427, by István Gáli (as Don Giovanni), Zsuzsanna Dénes (as Donna Anna), László Polgár (as Leporello), and the Symphony Orchestra of the Hungarian Radio and Television conducted by Wilhelm Keitel; Piano Quartet No. 1 in G minor, K. 478, by the Ars Quartet; and 6 German Dances, K. 509, by the Chamber Ensemble of the National Theatre, Prague. - CONCERT SEGMENT: Piano Concerto No. 23 in A major, K. 488, performed by Zoltán Kocsis with the Virtuosi di Praga conducted by Jiří Bělohlávek, recorded in the Rittersaal ("Knight′s Hall") of the Wallenstein Palace in Prague, Czechoslovakia. Episode 11: https://rumble.com/v4np4px-mozart-on-tour-frankfurt-coronation-episode-11.html

- DOCUMENTARY SEGMENT: Austria's Emperor Leopold II traveled to Frankfurt-am-Main in early October 1790 to be crowned Holy Roman Emperor. Left out of the Viennese court's official delegation, Mozart paid his own way to travel to Frankfurt-am-Main in the hope of making money by performing concerts. However, he was left out of the musical activities related to the coronation entirely, and instead of Mozart receiving a commission for an opera, the opera Axur, re d'Ormus by Antonio Salieri (1750–1825) was performed as part of the coronation festivities. By the time of the coronation ceremony on 9 October 1790, Mozart had done little to compose new music or make professional contacts among the dignitaries attending the festivities. In the end, Mozart finally gave a concert on 15 October 1790, after the newly crowned emperor and most other officials had left the city. The concert, which included performances of Piano Concerto No. 19 in F major, K. 459, and Piano Concerto No. 26 in D major "Coronation," K. 537, was not a commercial success. Music performed during the documentary includes portions of Piano Concerto No. 19 by Radu Lupu with the Deutsche Kammerphilharmonie Bremen ("Bremen German Chamber Philharmonic") conducted by David Zinman; Piano Concerto No. 26 with cadenzas by Edwin Fischer, performed by Homero Francesch with the Deutsche Kammerphilharmonie Bremen conducted by Gerd Albrecht; and Antonio Salieri′s opera Tarare with Anna Caleb as Spinette,Jean Pierre Lafont as Atar, and the Radiosinfonieorchester Stuttgart ("Stuttgart Radio Symphony Orchestra") conducted by Jean-Claude Malgoire. - CONCERT SEGMENT: Piano Concerto No. 19 in F major, K. 459, performed by Radu Lupu with the Deutsche Kammerphilharmonie Bremen ("Bremen German Chamber Philharmonic") conducted by David Zinman, recorded in the Sophiensaal in Munich, Germany. Episode 12: https://rumble.com/v4npk3w-mozart-on-tour-munich-way-station-episode-12.html

- DOCUMENTARY SEGMENT: Mozart disliked his birthplace and childhood home, Salzburg, and found it humiliating to make music for the Archbishop of Salzburg, Count Hieronymus von Colloredo. After a prominent French pianist named Mademoiselle Jeunehomme – her first name is not recorded – visited Salzburg and performed some of Wolfgang's works, he and his family decided that he should visit Paris. When Mozart wrote the Archbishop and diplomatically requested that he grant Mozart a leave of absence so that he could travel and seek other opportunities, the Archbishop responded by firing Mozart, so Mozart and his mother set out for Mannheim, where they stayed for four months, and then moved on to Paris, arriving there in March 1778. In Paris, he received few job offers and turned down the ones he did receive. On 3 July 1778, his mother died in Paris. Mozart returned to Salzburg with no job and large debts, never to return to France. Although he viewed himself as a failure during this period of his life, it was a fruitful time in terms of his musical compositions. - CONCERT SEGMENT: Piano Concerto No. 9 in E-flat major, "Jeunehomme," K. 271, performed by Mitsuko Uchida with the Mozarteum Orchestra Salzburg conducted by Jeffrey Tate, recorded at the Mozarteum University of Salzburg during the Salzburg Festival in 1989. Episode 7: https://rumble.com/v4nhy7i-mozart-on-tour-vienna-a-double-abduction-episode-7.html