Adaneth - Arts & Literature

Maria Callas is without question the greatest opera legend of the 20th century. These unique films are a rare opportunity to view the celebrated and candid 1968 BBC interviews she gave with Lord Harewood, intimately filmed in her Paris apartment. Filmed in Paris, April 1968. Film Director – Barrie Gavin Film Producer – John Calshaw Interviewer, Presenter – Lord Harewood Part II: https://rumble.com/v4jj6zl-the-callas-conversations-maria-callas-talking-to-lord-harewood-part-ii.html

In the second of two programmes, Maria Callas, the great soprano, talks to Lord Harewood about her approach to the major roles of her repertoire. Maria Callas in conversation with Bernard Gavoty & Three Arias: https://rumble.com/v4jjnjh-the-callas-conversations-maria-callas-in-conversation-with-bernard-gavoty-a.html

An interview with French television presenter Bernard Gavoty, for the programme "Les grandes Interprètew, A Programme By Bernard Gavoty", coupled with superb performances of arias by Massenet, Bellini and Puccini. Audio in French & Italian with English subtitles. Conductor – Georges Prêtre Film Director – Gérard Herzog Interviewer, Presenter – Bernard Gavoty Orchestra – Orchestre National De L'ORTF Filmed at the ORTF, Paris, May 1965 Tracklist of Arias: - From Manon: Je Ne Suis Que Faiblesse - Adieu, Notre Petite Table Composed By – Jules Massenet Libretto By – Henri Meilhac, Philippe Gille - From La Sonnambula: Oh! Se Una Volta Sola - Ah, Non Credea Mirarti Composed By – Vincenzo Bellini Libretto By – Felice Romani - From Gianni Schicchi: O Mio Babbino Caro Composed By – Giacomo Puccini Libretto By – Giovacchino Forzano

Composer: Giuseppe Verdi (1813-1901) Orchestra/chorus: Royal Opera House Orchestra & Chorus Conductor: Carlo Maria Giulini Recording: Live from Covent Garden, 26.11.1964 Cast & Characters: Manrico - Bruno Prevedi Azucena - Giulietta Simionato Leonora - Gwyneth Jones Conte di Luna - Peter Glossop Ferrando - Joseph Rouleau Ines - Elizabeth Bainbridge Ruiz - John Dobson Un vecchio zingaro - William Clothier Un messo - Handel Owen

Un viaggio dietro le quinte del Bolshoi, attraverso i luoghi segreti e la storia dei ballerini che si sono esibiti in uno dei teatri più famosi del mondo.

Un documentario del 2009 diretto da Alessandra Gigante. Sembrerebbe che l'arte del Rinascimento sia stata studiata in lungo e in largo. Tuttavia, i dipinti, ammirati ogni anno da milioni di spettatori, continuano a mantenere i loro segreti. In uno sguardo, in un gesto, in un fiore, in un colore...Anche la "Primavera" di Sandro Botticelli nasconde tanti misteri. Perché 9 figure per rappresentare una stagione? Perché le donne sembrano incinte? Qual è il legame di Venere con la primavera? Chi ha commissionato la “Primavera” e chi ha deciso quali significati dare al quadro? Simonetta Cattaneo è un nome che non vi suona familiare ma basta guardare per un attimo la “Primavera” o la “Nascita di Venere” di Botticelli e vi renderete conto di chi stiamo parlando! Questa giovane dama genovese era sulla bocca di tutti a Firenze intorno al 1475. Musa e modella per molti artisti Simonetta – che aveva sposato un Vespucci – forse era l’amante di Giuliano de’ Medici, fratello minore di Lorenzo il Magnifico. Tuttavia nei capolavori di Botticelli c’è molto di più di quanto sembri. Ma questi segreti sono così ben nascosti che nel corso dei secoli si sono sviluppate molte interpretazioni diverse. Ciò che emerge è cosa significava dipingere durante il Rinascimento, un'epoca in cui l'arte faceva appello non solo alla cultura ma anche alle cronache e alla politica del momento.

Un documentario del 2013 diretto da Alessandra Gigante. Artista geniale, uno dei massimi rappresentanti del Barocco, Caravaggio sfidò più volte il destino e chi lo circondava. Non risparmiò né se stesso né coloro a cui era caro. I suoi nemici lo bollarono come assassino e libertino. Ma cosa motivava i nemici di Caravaggio? Perché era così insultato? È vero che i suoi quadri furono spesso rifiutati, ma ricevette comunque nuovi ordini? Col suo lungo e travagliato soggiorno romano Caravaggio ha segnato un epoca artistica a cavallo tra Cinquecento e Seicento. Ma il grande pittore non ha solo lasciato tracce artistiche: nei suoi anni romani Michelangelo Merisi ha fatto parlare di sé anche attraverso i verbali di processi e denuncie varie. Tra il 1595 e il 1606 l’irrequieto pittore si muove tra pennelli e risse in un crescendo di capolavori e violenze che culminano nel famoso omicidio di Ranuccio Tomassoni la sera del 28 maggio 1606. Dopo quella notte Caravaggio lasciò per sempre Roma portando con sé il segreto di cosa era veramente accaduto. E oggi, documenti ritrovati di recente, aiutano a riscrivere quelle drammatiche ore in modo diverso: non un litigio avvenuto quasi per caso durante una partita di pallacorda ma un vero e proprio duello, programmato da tempo.

"Ivan the Terrible" is a classical ballet in 2 Acts. The world premiere of the ballet Ivan the Terrible took place at the Bolshoi Theater on 20th of February 1975. Yuri Vladimirov performed as the tsar, Natalia Bessmertnova as Anastasia, and Boris Akimov as Kurbsky. The second production, in 1977, was performed by Vladimir Vasiliev (Ivan IV), Lyudmila Semenyaka (Anastasia) and Boris Akimov ((Prince Kurbsky). The premiere caused great resonance. That same summer the troupe toured in the USA, where „Ivan the Terrible” created a great sensation and collected innumerable comments from viewers and media. Next year the ballet was staged at the Paris Opera, where it met the same warm reception, and soon it was shown on the stage constructed specifically for this performance in Louvre during the summer season. "Ivan the Terrible" is music by Sergei Prokofiev originally composed for the Sergei Eisenstein film about the sixteenth-century ruler. Prokofiev composed music to Part 1 in 1942-44, and to Part 2 in 1945; the score is cataloged as Op. 116. After the composer’s death, music for the film was arranged first into an oratorio (with speaker, soloists, chorus, and orchestra) by Alexander Stasevich (1961), who was the conductor of the film score, and later into a concert scenario by Christopher Palmer (1990). It was Abraham Stassevitch, conductor for Sergei Prokofiev's score for director Sergei Eisenstein's "Ivan the Terrible - Part II" (1958), who proposed to Grigorovich that he transfigure IVAN, along with its music, into a full-length dramaturgic dance work. In 1973 the choreographer and theatre director of Bolshoi Yuri Grigorovich, commissioned the distinguished Soviet composer as well as professor of composition, Mikhail Chulaki, to create a balletic scoring based upon Eisenstein's cinema masterpiece. It is cobbled from 377 fragments from Prokofiev's Ivan Part II musical design in addition to other pieces by the great composer. In 1976, based on this Bolshoi Theater performance, the film-ballet was shot, which was released on screens in 1978 by Mosfilm. Composer: Sergei Prokofiev, in a musical edition and composition by Mikhail Chulaki Choreography: Yuri Grigorovich Costume Designer: Simon Virsaladze Set Designer: Simon Virsaladze Screenplay and Directors: Vadim Derbenev, Yuri Grigorovich Artistic Director: Yuri Grigorovich Cast & Characters: Ivan the Terrible - Yuri Vladimirov Anastasia - Natalia Bessmertnova Prince Kurbsky - Boris Akimov Ballet dancers and the orchestra of the Bolshoi Theater of the USSR Conducted by Algis Žiūraitis For Yuri Vladimirov, the title role became a milestone, and the part of Tsaritsa Anastasia became one of the most consistent to Natalia Bessmertnova’s acting personality and professional talents in her creative biography. The following tsars, which have always included artists, distinguished by technical virtuosity and endowed with acting temperament, – Mikhail Lavrovsky, Alexander Godunov, Irek Mukhamedov, Alexei Fadeyechev, Alexander Vetrov – left a vivid mark on this ballet’s history.

The Missa solemnis in D major, Op. 123, is a Solemn Mass composed by Ludwig van Beethoven from 1819 to 1823. It was first performed on 7 April 1824 in Saint Petersburg, Russia, under the auspices of Beethoven's patron Prince Nikolai Golitsyn; an incomplete performance was given in Vienna on 7 May 1824, when the Kyrie, Credo, and Agnus Dei were conducted by the composer. It is generally considered one of the composer's supreme achievements and, along with Bach's Mass in B minor, one of the most significant Mass settings of the common practice period. Written around the same time as his Ninth Symphony, it is Beethoven's second setting of the Mass, after his Mass in C major, Op. 86. The work was dedicated to Archduke Rudolf of Austria, archbishop of Olmütz, Beethoven's foremost patron as well as pupil and friend. The copy presented to Rudolf was inscribed "Von Herzen—Möge es wieder—Zu Herzen gehn!" ("From the heart – may it return to the heart!") Performers : Anna Tomowa-Sintow Ruza Baldani Eric Tappy José van Dam Wiener Singverein Berliner Philharmoniker Herbert von Karajan Recorded at the Salzburg's Festspielhaus, Salzburg Easter Festival 1979 Artistic Supervision and directed by Herbert von Karajan Translation(s): Latin & English subtitles (Click on CC) Tracklist : 1. Opening 2. Kyrie: Kyrie eleison 3:34 Anna Tomowa-Sintow, Ruza Baldani, Eric Tappy, Wiener Singverein, Helmut Froschauer, Berliner Philharmoniker, Herbert von Karajan 3. Kyrie: Christe eleison 1:40 4. Kyrie: Kyrie eleison 4:10 5. Gloria: Gloria in excelsis Deo 4:51 6. Gloria: Qui tollis peccata mundi 5:14 Anna Tomowa-Sintow, Ruza Baldani, Eric Tappy, José van Dam, Wiener Singverein, Helmut Froschauer, Berliner Philharmoniker , Herbert von Karajan 7. Gloria: Quoniam tu solus sanctus 7:24 8. Credo: Credo in unum Deum 4:43 Wiener Singverein, Helmut Froschauer, Berliner Philharmoniker, Herbert von Karajan 9. Credo: Et incarnatus est 5:43 Anna Tomowa -Sintow, Ruza Baldani, Eric Tappy, José van Dam, Wiener Singverein, Helmut Froschauer, Berliner Philharmoniker, Herbert von Karajan 10. Credo: Et resurrexit 3:14 Helmut Froschauer, Wiener Singverein, Berliner Philharmoniker, Herbert von Karajan 11. Et vitam venturi saeculi (Allegretto ma non troppo) 8:26 Wiener Singverein, Berliner Philharmoniker, Herbert von Karajan 12. Sanctus: Sanctus Dominus Deus Sabaoth 2:12 13. Sanctus: Pleni sunt coeli 1:15 Anna Tomowa-Sintow, Ruza Baldani, Eric Tappy, José van Dam, Berliner Philharmoniker, Herbert von Karajan 14. Sanctus: Praeludium 1:27 Berliner Philharmoniker, Herbert von Karajan 15. Sanctus: Benedictus 11:16 16. Agnus Dei: Agnus Dei 6:26 17. Agnus Dei: Dona nobis pacem 9:31 Anna Tomowa-Sintow, Ruza Baldani, Eric Tappy, José van Dam, Wiener Singverein, Berliner Philharmoniker, Herbert von Karajan

The Symphony No. 6 in B minor, Op. 74, also known as the Pathétique Symphony, is Pyotr Ilyich Tchaikovsky's final completed symphony, written between February and the end of August 1893. Tchaikovsky entitled the work "The Passionate Symphony", employing a Russian word, Патетическая (Pateticheskaya), meaning "passionate" or "emotional", which was then translated into French as pathétique, meaning "solemn" or "emotive". Tchaikovsky led the first performance in Saint Petersburg on 28 October [O.S. 16 October] of that year, nine days before his death. Performers : Vienna Philharmonic Orchestra Conductor Herbert von Karajan Recorded Jan., Feb., March 1984 at Grosser Muzikvereinssaal, Vienna. Tracklist : 1. Adagio - Allegro Non Troppo - Andante - Moderato Mosso - Andante - Moderato Assai - Adagio Mosso - Allegro Vivo - Andante Come Prima - Andante Mosso - 18:30 2. Allegro Con Grazia - 08:45 3. Allegro Molto Vivace - 08 :32 4. Finale. Adagio Lamentoso - Andante - 09:45

Live broadcast of the famous production by Franco Zeffirelli at the Arena di Verona on August 10, 2022. Composer: Giacomo Antonio Puccini Librettist: Giuseppe Adami, and Renato Simoni Premiere: 25 April 1926, Milan (La Scala) Language: Italian Synopsis: https://www.opera-arias.com/puccini/turandot/synopsis/ Translation(s): None Turandot is an opera in three acts by Giacomo Puccini to a libretto in Italian by Giuseppe Adami and Renato Simoni. Though Puccini's first interest in the subject was based on his reading of Friedrich Schiller's adaptation of the play, his work is most nearly based on the earlier text Turandot by Carlo Gozzi. Puccini left the opera unfinished at the time of his death in 1924; it premiered in 1926 after the music was posthumously completed by Franco Alfano. The opera is set in China and follows the Prince Calaf, who falls in love with the cold Princess Turandot. In order to win her hand in marriage, a suitor must solve three riddles, with a wrong answer resulting in their execution. Calaf passes the test, but Turandot refuses to marry him. He offers her a way out: if she is able to guess his name before dawn the next day, he will accept death. Puccini left the opera unfinished at the time of his death in 1924; it premiered in 1926 after the music was posthumously completed by Franco Alfano. Turandot premiered at the La Scala opera house in Milan, Italy, on 25 April 1926, a year and five months after Puccini's death. It was conducted by Arturo Toscanini. In the middle of Act III, the orchestra stopped playing. Toscanini turned to the audience and announced, "Qui finisce l'opera, perché a questo punto il maestro è morto" ("Here the opera ends, because at this point the maestro died"). The curtain was then lowered. The second and subsequent performances of the 1926 La Scala season included Alfano's ending. Cast & Characters: Anna Netrebko: Turandot Yusif Eyvazov: Calaf Maria Teresa Leva: Liu Ferruccio Furlanetto: Timur Carlo Bosi: Imperatore Altoum Gëzim Myshketa: Ping Matteo Mezzaro: Pong Ricardo Rados: Pang Parc Youngjun: Mandarino Choir, orchestra and ballet Arena di Verona Conductor: Marco Armigliato Production: Franco Zeffirelli

Live broadcast of the lavish production by Hugo De Ana at the Arena di Verona in 2006. Audio in Italian with subtitles in: Italian, English, French, German and Spanish (Click on CC for the subtitles). Composer: Giacomo Antonio Puccini Librettist: Giuseppe Giacosa, and Luigi Illica Premiere: 14 January 1900, Rome (Teatro Costanzi) Language: Italian Translation(s): Italian, English,French, German, Spanish. Synopsis: https://www.opera-arias.com/puccini/tosca/synopsis/ Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900. The work, based on Victorien Sardou's 1887 French-language dramatic play, La Tosca, is a melodramatic piece set in Rome in June 1800, with the Kingdom of Naples's control of Rome threatened by Napoleon's invasion of Italy. Tosca premiered at a time of unrest in Rome, and its first performance was delayed for a day for fear of disturbances. Despite indifferent reviews from the critics, the opera was an immediate success with the public. It contains depictions of torture, murder and suicide, yet also includes some of Puccini's best-known lyrical arias, and has inspired memorable performances from many of opera's leading singers. Cast & Characters: Floria Tosca - Fiorenza Cedolins Mario Cavaradossi - Marcelo Alvarez Scarpia - Ruggero Raimondi Angelotti - Marco Spotti The Sacristan - Fabio Previati Spoletta - Enrico Facini Sciarrone - Giuliano Pelizone The Jailer - Angelo Nardinocci The Shepherd - Ottavia Dorucci Choir and Orchestra of Arena di Verona Conductor - Daniel Oren Director - Hugo De Ana

Music by Igor Stravinsky Choreography by Pina Bausch Wuppertal Tanztheater Dancers Solo Dancer: Malou Airaudo The Cleveland Orchestra Conductor Pierre Boulez Preface by Rudolf Nureev ZDF Production, 1978 In 1975 Pina Bausch competed with Das Frühlingsopfer (The Rite of Spring), a testing ground for many choreographers of the 20th century. Her version, which has become a cornerstone of the company's repertoire, is characterized by the absence of any reference to pagan Russia and any folkloric figurativism. In dealing with dramatic crudeness the violence of the group towards a girl destined for propitiatory sacrifice, Pina Bausch stages a true collective ritual full of emotional strength and physicality that involves the performers and the public. At the end, the Elect abandons herself to a solo made up of shocks, confusion and anger, the victim of a terror close to madness.

Tarare is an opéra (tragédie lyrique) composed by Antonio Salieri to a French libretto by Pierre Beaumarchais. Audio in French with English and Italian subtitles (click on CC). The Opera was first performed by the Paris Opera at the Théâtre de la Porte Saint-Martin on 8 June 1787. Salieri also reworked the material into an Italian version retitled Axur, re d'Ormus with libretto by Lorenzo Da Ponte, which opened in Vienna in January 1788. Musically, Tarare fits into the style of eighteenth-century tragedie lyrique, with extensive use of choirs and ballets, but is characterized by the elimination of closed pieces, an expedient with which Salieri tried to adhere to the vision of Beaumarchais, who believed the text should prevail over the music. A few months after the Parisian premiere, at the request of the Austrian Emperor Joseph II, Salieri, with the help of the librettist Lorenzo Da Ponte, transformed Tarare into a new opera with an Italian libretto, Axur, Re d'Ormus, which premiered at the Burgtheater in Vienna on 8 January 1788. In the modern era, Tarare was revived at the Schwetzingen Festival in 1988 and in Strasbourg in 1991. The story takes place in the palace of Atar, in the temple of Brama and in the square of the city of Ormus, in Asia, near the Persian Gulf. The opera opens with a prologue in the tradition of Lully: part spectacle, part allegory. Nature and the Spirit of Fire assign roles to the spirits of unborn humanity: haughty grandeur to Atar, humble poverty to Tarare. Forty years pass. Tarare has become head of the army after saving Atar from drowning; the people love him for his goodness. The sultan, however, hates the general, as Justinian hated Belisarius, and Louis XVI envied La Fayette; and plots to destroy him. Cast & Characters: Tarare - Howard Crook Atar - Jean-Philippe Lafont Spinette - Anna Caleb Calpigi - Eberhard Lorenz Altamort - Hannu Niemelä Artenee - Nicolas Rivenq Urson - Jean Francois Gardeil Astasie - Zehava Gal The Genie of Fire - Klaus Kirchner German Handel soloists Conductor : Jean-Claude Malgoire Director/Choreographer : Heinz Balthes

Raymonda, ballet in 3 Acts, live broadcast from Teatro alla Scala, Milan 2011. Raymonda (Russian: Раймонда) is a grand ballet in three acts, four scenes with an apotheosis, originally choreographed by Marius Petipa to the music of Alexander Glazunov (his opus 57) and libretto by Lydia Pashkova. Raymonda was created especially for the benefit performance of the prima ballerina Pierina Legnani, and first presented by the Imperial Ballet at the Imperial Mariinsky Theatre on 19 January [O.S. 7 January] 1898 in Saint Petersburg, Russia. The choreography and mise-en-scène of the Imperial Ballet's original production of Raymonda was recorded in 1905 in the method of Stapanov choreographic notation during rehearsals for performances starring the renowned Russian ballerina Olga Preobrajenskaya in the title role. In 2011 Sergei Vikharev utilized the notation to stage a new version of Raymonda for the Ballet of the Teatro alla Scala. The production also restored the original décor and costumes from designs prepared for the first production of 1898. Music by Aleksandr Glazunov Libretto by Lidia Pashkova and Marius Petipa, based on a medieval legend. Orchestra of Teatro alla Scala Conductor - Mikhail Yurovsky Choreography - Marius Petipa (1898) Choreographic revivel and staging- Sergei Vikharev Cast & Characters: Raymonda, niece of Countess de Doris - Olesya Novikova Knight Jean de Brienne, Raymonda's fiancé - Friedemann Vogel Abderakhman, Saracen knight - Mick Zeni Corps de ballet of Teatro alla Scala Ballet Director - Makhar Vaziev With the participation of the students of Accademia Teatro alla Scala Ballet School, directed by Frédéric Olivieri.

Un documentario del 2015 dove si ricostruisce l'ultimo Carnevale trascorso da Goldoni a Venezia prima dell' "esilio" francese, nel 1762. Un omaggio alla tradizione teatrale lagunare e al suo più illustre rappresentante. Carlo Osvaldo Goldoni (Venezia, 25 febbraio 1707 – Parigi, 6 febbraio 1793) è stato un commediografo, scrittore, librettista e avvocato italiano, cittadino della Repubblica di Venezia. Goldoni è considerato uno dei padri della commedia moderna e deve parte della sua fama anche alle opere in veneziano.

Opera Title: Cavalleria Rusticana Composer: Pietro Mascagni Librettist: Guido Menasci Premiere: 17 May 1890, Rome (Teatro Costanzi) Language: Italian Translation(s): Italian & English Subtitles (Click on CC) Synopsis: https://www.opera-arias.com/mascagni/cavalleria-rusticana/synopsis/ Cavalleria rusticana (en: Rustic Chivalry, Italian pronunciation: ) is an opera in one act by Pietro Mascagni to an Italian libretto by Giovanni Targioni-Tozzetti and Guido Menasci, adapted from a play written by Giovanni Verga based on his short story. Considered one of the classic verismo operas, it premiered on May 17, 1890 at the Teatro Costanzi in Rome. Since 1893, it has often been performed in a so-called Cav/Pag double-bill with Pagliacci by Ruggero Leoncavallo. Cast & Characters:: Santuzza - Fiorenza Cossotto Turiddu - Gianfranco Cecchele Lucia - Anna Di Stasio Alfio - Giangiacomo Guelfi Lola - Adriana Martino Orchestra e Coro del Teatro alla Scala Conductor Herbert von Karajan Chorusmaster: Roberto Benaglio Staged by Giorgio Strehler Film Director: Ake Falk Set and Costume Design: Luciano Damiani Artistic Supervision by Herbert von Karajan Opera Title: Pagliacci Composer: Ruggero Leoncavallo Librettist: Ruggiero Leoncavallo Premiere: 21 may 1892, Milan (Teatro Dal Verme) Language: Italian Translation(s): Italian & English Subtitles (Click on CC) Synopsis: https://www.opera-arias.com/leoncavallo/pagliacci/synopsis/ Pagliacci (literal translation, "Clowns"), sometimes incorrectly rendered with a definite article as 'I Pagliacci', is an opera consisting of a prologue and two acts, with music and libretto by Ruggero Leoncavallo. It is the only opera of Leoncavallo that is still widely staged. The opera tells the tale of Canio, actor and leader of a commedia dell'arte theatrical company, who murders his wife Nedda and her lover Silvio on stage during a performance. Cast & Characters: Canio - Jon Vickers Nedda - Raina Kabaivanska Tonio - Peter Glossop Silvio - Rolando Panerai Peppe - Sergio Lorenzi Staged by Paul Hager Directed by Herbert von Karajan Set and Costume Design by Georges Wakhevitch Orchestra e Coro del Teatro alla Scala Chorus Master: Roberto Benaglio Conductor and Artistic Supervision: Herbert von Karajan

Composer: Giuseppe Verdi Librettist: Antonio Ghislanzoni Premiere: 24 December 1871, Cairo (Opera House) Language: Italian Subtitles (click on CC): Italian, English, German, French, Spanish, Russian. Aida Synopsis: https://www.opera-arias.com/verdi/aida/synopsis/ Aida is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario written by French Egyptologist Auguste Mariette. Aida was first performed at the Khedivial Opera House in Cairo on 24 December 1871, conducted by Giovanni Bottesini. Contrary to popular belief, the opera was not written to celebrate the opening of the Suez Canal in 1869, nor that of the Khedivial Opera House (which opened with Verdi's Rigoletto) in the same year. Verdi had been asked to compose an ode for the opening of the Canal, but declined on the grounds that he did not write "occasional pieces". Ghislanzoni's scheme follows a scenario often attributed to the French Egyptologist Auguste Mariette, but Verdi biographer Mary Jane Phillips-Matz argues that the source is actually Temistocle Solera. Today the work holds a central place in the operatic canon, receiving performances every year around the world; at New York's Metropolitan Opera alone, Aida has been sung more than 1,100 times since 1886. Aida continues to be a staple of the standard operatic repertoire. It is frequently performed in the Verona Arena, and is a staple of its renowned opera festival. La Scala mounted a lavish new production of Aida designed by Franco Zeffirelli for the opening night of its 2006/2007 season. The production starred Violeta Urmana in the title role and Roberto Alagna as Radamès. This is the recording of La Prima della Scala on 7th of December 2006. Cast & Characters: Radames - Roberto Alagna Aida - Violeta Urmana Amneris - Ildiko Komlosi Il re - Marco Spotti Ramfis - Giorgio Giuseppini Amonasro - Carlo Guelfi Il messaggero - Antonello Ceron La sacerdotessa - Sae Kyung Rim Dancers: Luciana Savignano, Roberto Bolle, Myrna Kamara Corps de Ballet of the Teatro alla Scala Pupils of the Accademia Teatro alla Scala Choreographer - Vladimir Vassiliev Orchestra del Teatro alla Scala Conductor - Riccardo Chailly Coro del Teatro alla Scala Chorus Master - Bruno Casoni Production and Sets - Franco Zeffirelli TV Director - Patrizia Carmine Recorded in Milan, Teatro alla Scala, December 7, 2006

Composer: Giuseppe Verdi Librettist: Francesco Maria Piave Premiere: 11 March 1851, Venice (La Fenice) Language: Italian Subtitles: Italian, English, German and French subtitles (Click on CC) Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the 1832 play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851. The work, Verdi's sixteenth in the genre, is widely considered to be the first of the operatic masterpieces of Verdi's middle-to-late career. Its tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto's daughter Gilda. The opera's original title, La maledizione (The Curse), refers to a curse placed on both the Duke and Rigoletto by the Count Monterone, whose daughter the Duke has seduced with Rigoletto's encouragement. The curse comes to fruition when Gilda falls in love with the Duke and sacrifices her life to save him from the assassin hired by her father. This is a 1982 production directed by Jean-Pierre Ponnelle, starring Ingvar Wixell, Edita Gruberová and Luciano Pavarotti, with the music score conducted by Riccardo Chailly. This staging was shot in the Teatro Farnese (Parma), the Teatro all'antica (Sabbioneta), the piazza in front of the Duomo di Cremona, the Castello di San Giorgio (palazzo ducale of Mantua) and the Palazzo del Te (also in Mantua). Cast & Crew: Ingvar Wixell as Rigoletto, the Duke's jester and as Count Monterone Edita Gruberová as Gilda, Rigoletto's daughter Luciano Pavarotti as Il Duca di Mantova (The Duke of Mantua) Ferruccio Furlanetto as assassin Sparafucile Victoria Vergara as Maddalena, Sparafucile's sister Fedora Barbieri as Giovanna, Gilda's nurse Roland Bracht as Count Ceprano Kathleen Kuhlmann as Countess Ceprano Rémy Corazza as Matteo Borsa, a courier Louis Otey as Marullo, a guest at the ball Konzertvereinigung Wiener Staatsopernchor Chorus Master: Norbert Balatsch Wiener Philharmoniker Conductor: Riccardo Chailly Produced by Horant H. Hohlfeld Directed by Jean-Pierre Ponnelle Cinematography by Pasqualino De Santis Production Design by Gianni Quaranta Costume Design by Martin Schlumpf

Film version of the famous Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (Profane songs for singers and choirs accompanied by instruments and magical figures). Audio in Latin with subtitles in English, Italian and Latin (Click on CC). Directed by Ponnelle under the supervision of the author Carl Orff, who set to music selected texts in Latin and Old German from the Carmina burana manuscript of around 1250. Amazing musical interpretation conducted by Kurt Eichhorn, assisted by three highly inspired soloists: Prey, Popp and van Kesteren. Cast & Crew: Lucia Popp: Soprano John van Kesteren: Tenor Hermann Prey: Baritone Chor des Bayerischen Rundfunks Tolzer Knabenchor Munchner Rundfunkorchester Conductor: Kurt Eichhorn The introductory section "Fortuna imperatrix mundi" includes the chorus "O Fortuna" which frames the entire scenic cantata, thus underlining the omnipresence of fate in human affairs. In the first part, "Primo vere"/"Uf dem Anger" the joys of awakening nature in spring are praised; in the second, "In taberna", the abbot of Cucania narrates the earthly pleasures of eating and drinking; in the third part, "Cour d'amours"/"Blanziflor et Helena", love is celebrated, constantly poised between the sacred and the profane.

Film RAI del 1962 diretto da Mario Lanfranchi. Personaggi e Interpreti : Serpina: Anna Moffo Uberto: Paolo Montarsolo Vespone: Giancarlo Cobelli Orchestra Filarmonica di Roma Direttore d'orchestra Franco Ferrara La serva padrona è un intermezzo buffo in due parti musicato da Giovanni Battista Pergolesi. Epoca d'azione: XVIII secolo Luogo: Napoli TRAMA: Un ricco e attempato signore di nome Uberto ha al suo servizio la giovane e furba Serpina che, con il suo carattere prepotente, approfitta della bontà del suo padrone. Uberto, per darle una lezione, le dice di voler prendere moglie; Serpina gli chiede di sposarla, ma lui, anche se è molto interessato, rifiuta. Per farlo ingelosire Serpina gli dice di aver trovato marito, un certo capitan Tempesta, che in realtà è l'altro servo di Uberto (Vespone il muto) travestito da soldato. Serpina chiede a Uberto una dote di 4000 scudi; Uberto, pur di non pagare, sposerà Serpina, la quale da serva diventa finalmente padrona. STORIA: Composta per il compleanno di Elisabetta Cristina di Brunswick-Wolfenbüttel su libretto di Gennaro Antonio Federico, fu rappresentata la prima volta al Teatro San Bartolomeo di Napoli il 5 settembre 1733, quale intermezzo all'opera seria Il prigionier superbo, dello stesso Pergolesi, destinata a non raggiungere neppure lontanamente la fama della Serva padrona. Alla prima rappresentazione è attribuita a tutti gli effetti l'inizio del nuovo genere dell'opera buffa. Lo stesso libretto fu ripreso da Giovanni Paisiello per l'omonima opera buffa. Nel 1734 avviene la prima nell'Académie Royale de Musique di Parigi e nella Reggia di Versailles, nel 1746 nel Théâtre-Italien di Parigi e nel 1750 nell'His Majesty's Theatre di Londra. Il grande successo della ripresa del 1752 dell'Académie Royale de Musique scatenò una disputa, nota come la Querelle des bouffons, fra i sostenitori dell'opera tradizionale francese, incarnata dallo stile di Jean-Baptiste Lully e Jean-Philippe Rameau, e i sostenitori della nuova opera buffa fra cui alcuni enciclopedisti (in particolare Jean-Jacques Rousseau, anch'egli compositore). La disputa divise la comunità musicale francese e la stessa corte (con la regina che si schierò a fianco degli "italiani"), per due anni, e portò ad una rapida evoluzione del gusto musicale del paese transalpino verso modelli meno schematici e più moderni. Nel 1754 avviene la ripresa nel Théâtre-Italien come La servante-maîtresse nella traduzione in versi di Pierre Baurans e Charles Simon Favart e nel 1862 la prima all'Opéra-Comique di Parigi con Célestine Galli-Marié.

Maria Stuarda (Mary Stuart) is a 1988 Opera Film directed by Petr Weigl, Screenplay by Giuseppe Bardari and Friedrich Schiller. Singing voice of Joan Sutherland as Maria Stuarda and Luciano Pavarotti as Leicester. This is an abridged version which combines the Donizetti opera and the Schiller play. LANGUAGE Dialogues: German Singing: Italian Translation: English subtitles Maria Stuarda (Mary Stuart) is a tragic opera (tragedia lirica), in two acts, by Gaetano Donizetti, to a libretto by Giuseppe Bardari, based on Andrea Maffei's translation of Friedrich Schiller's 1800 play Maria Stuart. The opera is one of a number of operas by Donizetti which deal with the Tudor period in English history, including Anna Bolena (named for Henry VIII's second wife, Anne Boleyn), Roberto Devereux (named for a putative lover of Queen Elizabeth I of England) and Il castello di Kenilworth. The lead female characters of the operas Anna Bolena, Maria Stuarda, and Roberto Devereux are often referred to as the "Three Donizetti Queens". The story is loosely based on the lives of Mary, Queen of Scots (Mary Stuart) and her cousin Queen Elizabeth I. Schiller had invented the confrontation of the two Queens, who in fact never met. Mary Stuart (German: Maria Stuart) is a verse play by Friedrich Schiller that depicts the last days of Mary, Queen of Scots. The play consists of five acts, each divided into several scenes. The play had its première in Weimar, Germany on 14 June 1800. Cast & Characters: ELIZABETH I - Kamila Magálová (HUGUETTE TOURANGEAU ♫) MARIA STEWART - Magdalena Vasaryová (JOAN SUTHERLAND ♫) EARL OF LEICESTER - Milan Kňažko (LUCIANO PAVAROTTI ♫) GEORGE TALBOT - Přemysl Kočí (ROGER SAWYER ♫) WILLIAM CECIL - Jan Přeučil (JAMES MORRIS ♫) ANNA KENNEDY - Jiřina Jirásková (MARGARET ELKINS ♫) BURLEIGH - Jan Preucil (JAMES MORRIS ♫) CHORUS and ORCHESTRA of the Bologna Opera House CONDUCTOR Richard Bonynge DIRECTOR Petr Weigl

Composer: Giaochino Rossini Librettist: Angelo Anelli Premiere: 22 May 1813, Venice (Teatro San Benedetto) Language: Italian Subtitles: English & Italian (Click on CC) L' italiana in Algeri Synopsis: https://www.opera-arias.com/rossini/l'italiana-in-algeri/synopsis/ Act II: https://rumble.com/v4c37bt-rossini-litaliana-in-algeri-act-ii-horne-montarsolo-ahlstedt-monk-levine-me.html Marilyn Horne talks about Rossini: https://rumble.com/v4c35mc-marilyn-horne-talks-about-rossini.html L'italiana in Algeri (The Italian Girl in Algiers) is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies. Rossini wrote L'italiana in Algeri when he was 21. Rossini stated that he composed the opera in 18 days, though other sources claim that it took him 27 days. Rossini entrusted the composition of the recitatives as well as the aria "Le femmine d'Italia" to an unknown collaborator. The opera is notable for Rossini's mixing of opera seria style with opera buffa. The overture is widely recorded and performed today, known for its distinct opening of slow, quiet pizzicato basses, leading to a sudden loud burst of sound from the full orchestra. This "surprise" reflects Rossini's early admiration for Joseph Haydn, whose Symphony No. 94 in G major, "The Surprise Symphony", is so named for the same shocking and semi-comic effect. The work was first performed at the Teatro San Benedetto, Venice on 22 May 1813. It was a notable success and Rossini made progressive changes to the work for later performances in Vicenza, Milan and Naples, during the following two years. The opera was first presented in London at His Majesty's Theatre on 28 January 1819 and on 5 November 1832 in New York. Cast & Characters: Isabella - Marilyn Horne Mustafa - Paolo Montarsolo Lindoro - Douglas Ahlstedt Taddeo - Allan Monk Elvira - Myra Merritt Zulima - Diane Kesling Hali - Spiro Malas Recitative Accompanist: Warren Jones (Harpsichord/Cembalo/Clavecin) Metropolitan Opera Orchestra and Chorus Conductor : James Levine Production: Jean-Pierre Ponnelle Set & Costume Design: Jean-Pierre Ponnelle Video Director: Brian Large

L' italiana in Algeri DVD Bonus Material.

A 2010 Arts Documentary written by Bruno Lussato narrated by John G. Deacon. This is an introduction to the world of symbols of Richard Wagner's "The Ring of the Nibelung". Der Ring des Nibelungen (The Ring of the Nibelung), often referred to as the Ring Cycle, Wagner's Ring, or simply The Ring, is a cycle of four German-language epic music dramas composed by Richard Wagner. The works are based loosely on characters from the Norse sagas and the Nibelungenlied. The documentary breaks down and reveals all the Leitmotiv’s: examples of the more than 50 leitmotivs that are part of the story; metaphors, mythology, scenes, plots, characters, and names in Richard Wagner’s “Der Ring des Nibelungen”. Discover the fascinating world of symbols of "The Ring of the Nibelung" - a coherent phantasmagoria of powerful word, fabulous image and astounding music. All 18 chapters in a chronological and logical order of events. The Monumental Ring Cycle’s four parts : Das Rheingold (The Rhinegold) Die Walküre (The Valkyrie) Siegfried Götterdämmerung (Twilight of the Gods) The illustrations come from two famous artists, the English book illustrator the German painter Franz Stassen and Arthur Rackham; additional drawings by Polina Zinoviev. The music performed by “Orchestre Nationale de France,” conductor Jeffrey Tate.