Alfredo Catalani :

Alfredo Catalani
Broken down is the city of chaos.
не знаю даже, где и спрашивать/искать..
Der Fuhrer (Rock-opera) никто не встречал?? брат интересуется.. помогите?? или в раздел нужный ткните хотя бы..
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Broken down is the city of chaos.
Broken down is the city of chaos.
ребят а чо можете посоветовать начинающему слушателю?
а то у меня есть сборник классики и ой как нравится опера там, а в ней ничего не понимаю....(
The Doctor: The universe is big, it's vast and complicated, and ridiculous. And sometimes, very rarely, impossible things just happen and we call them miracles. And that's the theory. Nine hundred years, never seen one yet, but this would do me.
этож не виданно чтоб такую тему загубили - почти не одна ссыль на предыдущих страницах нефурюкает, неужели подобная музыка перестла наслаждать серые массы?
человек должен судить о себе не по социальному статусу, а по количеству "кала"
lee basket
Массы в твоих руках. Стимулируй тему.
Broken down is the city of chaos.
Galina Vishnevskaya

Magdalena Kožená

Inva Mula
Broken down is the city of chaos.
Nathan Pacheco есть?
Various :

Это сообщение отредактировал Lase - 27.12.10 в 9:32
Broken down is the city of chaos.
Господа! Для повышения культурного уровня,
предлагаю книгу
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Автор: Абрам Акимович Гозенпуд
Название: Оперный словарь
Издательство: Музыка
Год издания: 1965
Страниц: 480
Формат: djvu в rar
Размер: 4,48 МБ
Словарь содержит статьи и справки более чем о 500 операх - русской и зарубежной классики,
советских и современных иностранных композиторов.

Скачать можно здесь:
Danielle De Niese-Beauty of The Baroque-2011-EiTheLMP3

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Release Info



Danielle De Niese-Beauty of The Baroque

I n f o s

Supplier: EiTheLMP3.TEAM
Ripper: EiTheLMP3.TEAM
Release Date: 03-Feb-2012
Source: CDDA
Grabber: Exact Audio Copy V1.0 Beta 3 Win32
Encoder: LAME v3.98.4 FINAL x86
Quality: VBRkpbs/44,1KHz/Joint-Stereo
Artist: Danielle De Niese
Title: Beauty of The Baroque
Music Genre: Classical
Record Label: Universal Music
Internet URL:
Release Year: 2011

R e l e a s e . N o t e s

The talent of Danielle de Niese was already evident by the
age of eight: the Australian-born, American soprano grew
up singing Purcell and Bach, and as a teenager seeking out
music suited to her youthful instrument, she was attracted
to the melodic simplicity and the orchestral sparseness
typical of the Baroque. It helped her enormously to be
already thoroughly grounded in music theory upon entering
New York s Mannes College of Music, where she was soon
immersed in Baroque performance practice. Her musical and
intellectual curiosity has remained insatiable, the result
being the exceptionally broad frame of reference that
anchors her performances today

Danielle de Niese constantly bears in mind the Baroque s
emphasis on harmony in its purest essence. In the scores
the music wasn t entirely notated that skeleton meant
that it could be reinterpreted, rewritten, so it always
had a fresh approach. Baroque music has a repetitive
strophic nature, often with reiterated passages calling
for ornamentation. That was the very bones of musical
style at the time, and in effect it was the birth of the
form of the common song we all know today

The earliest pieces on this album, the Dowland songs
romanticise the melancholy of love and communicate what
Danielle de Niese describes as a total immersion in
emotions . Dowland was vital to the soprano in planning
this programme and still more so Bach, whose technical
challenges Danielle de Niese willingly embraces. Heard
here are two cantata arias that she finds immensely
rewarding with their different colours, the one very
pastoral in its floating line, the other often quite
cheeky, and all about finding the line through text rather
than through the notes themselves

Among the Handel selections are familiar arias from Samson
and Serse. In Let the bright Seraphim , the A section
and its repeat (invigorated by the triumphant solo
trumpet) are separated by an exquisite B section, with
reiterated string chords supporting the voice s
description of angelic harps. Danielle de Niese views
Serse s universally beloved aria Ombra mai fu (which she
sings in its original alto key) as a true marker of the
Baroque period. Eschewing the sentimentality frequently
burdening this piece in performance, she concentrates
instead on the text and on the strength of simplicity
The other Handel works heard here are more off the beaten
track, particularly The Triumph of Time and Truth. When
investigating the composer s revisions of particular
pieces, Danielle de Niese found that he had twice returned
to his oratorio Il trionfo del Tempo e del Disinganno, the
second time reworking it in English. In examining Beauty s
aria Guardian angels , it was again a mesmerising purity
that captured her attention, but also the especially bare
accompaniment and, above all, the prayerful qualities of
the text

Musically memorable, while also recalling milestones in
Danielle de Niese s development as a Handelian, are the
aria of Galatea (Covent Garden debut, 2009) and the duet
from Rodelinda (role debut, Canadian Opera Company, 2005)
Greatly moved in Acis and Galatea by the heroine s
maturity and selflessness, Danielle de Niese invariably
found herself in tears when singing Heart, the seat of
soft delight onstage at the Royal Opera House. Acis
slain by the jealous Polyphemus, is released to Nature by
Galatea, who transforms him into a fountain and how
ravishingly the water s murmuring is projected both
vocally and in Handel s accompaniment

One of Handel s most affecting duets presents the
anguished parting of Rodelinda and her husband Bertarido
Danielle de Niese traces its emotional impact largely to
the music s harmonic component: You feel that these two
interwoven souls are being pulled apart by harmony
They re connected in the suspensions and dissonances, but
each time the music resolves, they separate. I feel the
tension is what binds them together. When they have to
accept letting go, the duet resolves into the minor key
You can picture two people with hands entwined, being
forced apart

What a contrast between Rodelinda s noble pair and the
protagonists of L incoronazione di Poppea! Rome s newly
crowned Empress, the ruthlessly ambitious Poppea, joins
the even more monstrous Nerone to end Monteverdi s opera
with a heart-stoppingly beautiful, apparently sincere love
duet. That seeming incongruity does not preoccupy Danielle
de Niese Busenello, the librettist, didn t attempt to
make accurate history , and besides, Two bad people make
one good couple! The duet moves continually from
dissonance to suspension and resolution. It ends with a
unison, notes the singer, because these two people are
so synched in their intentions and desires that they
almost turn into one. Unlike Rodelinda, here you have
dissonance that s meant to resolve. They push against each
other and then move into harmony again

The recital also includes one of Monteverdi s best-known
solo songs. Quel sguardo sdegnosetto captivates Danielle
de Niese both textually (the lover begging his disdainful
beloved to wound him with her eyes) and in the
accompaniment s underlying ciaccona. Entirely in keeping
with Baroque style, Danielle de Niese decided to outline
the rhythmic nature of the bare ciaccona, asking the
players to begin by improvising on its ritornello: first
guitar, then lutes, harp, cello, bass, and harpsichord

Far removed from that vigorous number is music requiring a
profound, inward-looking expressive solemnity: the opening
duet of Pergolesi s Stabat Mater incredibly haunting
says Danielle de Niese, with the series of suspensions
over the bass line ; and the heroine s supremely moving
lament from Purcell s Dido and Aeneas, with that
persistent D she sings on Remember me , like a bell

This album was recorded with genuine unanimity of purpose
Danielle de Niese is thrilled to be working for the first
time with Andreas Scholl while renewing her collaboration
with the wonderfully accomplished and enthusiastic players
of The English Concert. Harry Bicket, the ensemble s
artistic director, has conducted Danielle de Niese s
performances frequently since their 2005 Rodelinda. He is
she says, a musician s musician who gives you wings to

T r a c k l i s t

01. Come Again; Sweet Love Doth Now Invite 02:42
02. What if I Never Speed 02:31
03. Ombra Mai Fu 02:54
04. Let The Bright Seraphim 05:35
05. Thy Hand,belinda...When I Am Laid in Earth 05:07
06. Heart, The Seat of Soft Delight 04:11
07. Pur Ti Miro 04:35
08. Quel Sguardo Sdegnosetto 03:02
09. Io T'abbraccio 06:53
10. Guardian Angels, Oh, Protect Me 06:00
11. Stabat Mater 03:56
12. Sich ber Im Lieben 04:39
13. Schafe K nnen Sicher Weiden 04:45
TOTAL TiME ......................................... 56:50
TOTAL TRACKS .......................................... 13
TOTAL SiZE ....................................... 90,8 Mb

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01. Come Again; Sweet Love Doth Now Invite 02:42
02. What if I Never Speed 02:31
03. Ombra Mai Fu 02:54
04. Let The Bright Seraphim 05:35
05. Thy Hand,belinda...When I Am Laid in Earth 05:07
06. Heart, The Seat of Soft Delight 04:11
07. Pur Ti Miro 04:35
08. Quel Sguardo Sdegnosetto 03:02
09. Io T'abbraccio 06:53
10. Guardian Angels, Oh, Protect Me 06:00
11. Stabat Mater 03:56
12. Sich ber Im Lieben 04:39
13. Schafe K nnen Sicher Weiden 04:45

Слушаю в последнее время по эху москвы передачу Алексея Парина об опере. Очень нравится
where can i find this for download? if u can help me

Этот топик читают:

85 ответов с 29.10.05 в 21:31
Назад в Classical music