-
The Magic Flute – Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)
Enjoy this video? Subscribe to our channel to receive notifications about new ballet and opera clips.
To book tickets or find out more about the Royal Opera House, head to www.roh.org.uk
---
Soprano Diana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute, with Dorothea Röschmann as Pamina.
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s...
published: 19 Oct 2017
-
Mozart - Don Giovanni - complete (English Subtitles) - HD
W.A.Mozart's Don Giovanni complete opera with English subtitles. Zurich 2001 production موزارت モーツァルト
Don Giovanni - Rodney Gilfry
Leporello - László Polgár
Donna Anna - Isabel Rey
Don Ottavio - Roberto Saccà
Donna Elvira - Cecilia Bartoli
Zerlina - Liliana Nikiteanu
Masetto - Oliver Widmer
Commendatore - Matti Salminen
Conductor - Nikolaus Harnoncount
Director - Brian Large
Music - Wolfgang Amadeus Mozart
Libretto - Lorenzo Da Ponte
Country - Switzerland
Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart and Italian libretto by Lorenzo Da Ponte. It is based on the legends of Don Juan, a fictional libertine and seducer
published: 05 Nov 2017
-
The Magic Flute – 'Pa–, pa–, pa–, Papageno' duet (Mozart; Gansch, Williams; The Royal Opera)
Mozart’s glorious opera is brought enchantingly to life in David McVicar’s production with beautiful designs by John Macfarlane. Christina Gansch and Roderick Williams sing the 'Pa-, pa-, pa-, Papageno' duet. Subscribe to our channel and find out more at https://www.roh.org.uk/productions/the-magic-flute-by-david-mcvicar.
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival S...
published: 25 Sep 2019
-
Sir Thomas Allen directs Mozart The Marriage of Figaro
Find out more about the Royal College of Music at http://www.rcm.ac.uk
Esteemed baritone and RCM alumnus Sir Thomas Allen directs a rousing performance of Mozart's much-loved comic opera, produced by the RCM Opera Studio.
Composed in 1786, Mozart's classic opera has all the ingredients of a modern rom com: love, revenge and deception. Watch courtship turn to chaos for two servants, Figaro and Susanna, as their plans to wed are thwarted by the lecherous Count Almaviva. Lose yourself in Mozart's timeless melodies and witty libretto as the talented cast lead us through a myriad of mistaken identities, mishaps and misunderstandings.
Will our hero finally get his bride, or will the marriage of Figaro ultimately descend into mayhem?
The performance is sung in Italian.
Count Almaviva: Harry ...
published: 26 Aug 2020
-
The Best of Mozart
🎧 Listen to our playlist on Spotify: https://open.spotify.com/playlist/0VxY2QCkOpDrHVz3tYz0Tu
💿 Order “Mozart: Classical Music Masterpieces" (Vinyl) on Amazon! ✨ https://lnk.to/MozartMasterpiecesVinyl
💿 Order "Wolfgang Amadeus Mozart" (10-CD Box Set) on Amazon! https://lnk.to/Mozart10CD
🛍️Visit the Halidon shop on Amazon : https://lnk.to/StoreHalidon
👉 The HalidonMusic Sync Licensing platform is now live at https://licensing.halidonmusic.com
📧 Subscribe to our newsletter and get a 20% discount on the Halidon Music Store: https://www.halidonmusic.com/en/newsletter.html
☕ If you like what we do and would like to support us, you can now buy us a coffee: https://www.buymeacoffee.com/halidonmusic. Donations will go towards keeping the YouTube channel going and funding new recording sessions...
published: 08 Jan 2013
-
Mozart: Don Giovanni (Full Opera)
Wolfgang Amadeus Mozart
Don Giovanni, ossia Il Dissoluto Punito
Performed by Orchestra Filarmonica Italiana
Conductor: Alessandro Arigoni
DON GIOVANNI: Lorenzo Battagion
COMMENDATORE: Marco Pauluzzo
DONNA ANNA: Alexandra Zabala
DON OTTAVIO: Enrico Iviglia
DONNA ELVIRA: Frances Ginsberg
LEPORELLO: Gabriele Bolletta
MASETTO: Zaha Katsuhisa
ZERLINA: Monica Tarone
📖 ITA/ENG libretto: https://bit.ly/DonGiovanniLibretto
👉 SYNOPSIS: https://bit.ly/DonGiovanniSynopsis
Act 1
0:00:00 Overture
0:06:47 Notte e giorno fatigar
0:11:43 Leporello, ove sei?
0:12:24 Ma qual mai s'offre, oh Dei
0:19:37 Ah! Chi mi dice mai
0:21:56 Chi è là?
0:25:37 Madamina, il catalogo è questo
0:31:37 Giovinette che fate all’amore
0:33:10 Manco male, è partita
0:35:10 Ho capito, signorsì!
0:36:31 Alfin siam libe...
published: 26 Mar 2023
-
MOZART - COSI' FAN TUTTE (1790) with double subs It-Eng
According to Stendhal, to enjoy an opera sung in a language that we do not know, it would be enough to have just a basic outline of the plot. In my view, in the case of Mozart, this would mean neglecting the close attention he always paid not only to the dramaturgy but to every word of his operas’ libretti; and, as regards those of Da Ponte, it would mean overlooking three great comedies. Not for nothing, Stendhal was one of the detractors of “Così Fan Tutte”, joining his to Wagner’s, Beethoven’s and other’s hasty and superficial misjudgments that condemned in particular its text as frivolous, if not “immoral and trivial”, “unworthy of Mozart’s genius” (so did Beethoven, and yes, “Così” is not “Fidelio”!)
- But let me say… Trivial??? You’ll never know what you’ve missed! -
Perhaps, the lac...
published: 14 Oct 2019
-
25 Best Opera Arias - favourites from Puccini, Verdi, Mozart and more
Enjoy this selection of some of the best loved operatic arias in the repertoire. A selection of great tunes from the greats of the genre including Verdi, Puccini, Mozart, Donizetti and many others.
25 Best Opera Arias
00:00:00 Puccini: Gianni Schicchi - O mio babbino caro
00:02:36 Rossini: Il barbiere di Siviglia: Largo al factotum (Cavatina)
00:07:09 Mozart: Die Zauberflöte - Queen Of The Night
00:10:13 Puccini: La Bohème - Mi chiamano Mimì
00:14:58 Donizetti: L’Elisir d’Amore - Una furtiva lagrima
00:19:50 Verdi: Rigoletto - La donna é mobile
00:22:02 Puccini: Tosca - E lucevan le stelle
00:25:14 Mozart: Le nozze di Figaro - Non più andrai
00:29:06 Bellini: Norma - Casta diva
00:35:52 Verdi: Un ballo in maschera - Ma se m’e forza perderti
00:40:47 Puccini: Turandot - Nessun dorma
00:44:...
published: 11 Dec 2020
-
W.A.Mozart. Alleluja iš moteto EXULTATE JUBILATE. Natalija KRAUTER, soprano Lina VAITKUVIENĖ, piano
2011
Vilnius
published: 21 Feb 2024
-
MOZART - LE NOZZE DI FIGARO 1786 with double subs It-Eng
0:13:46 - “Se vuol ballare, signor contino, il chitarrino le suonerò”: It’s difficult to render into English the pun of the initial verses of this Cavatina: in Italian, the verb “suonare” (to play) can mean also “to beat somebody” (for example in the idiomatic expression “suonarle a qualcuno” , something like “to give someone a beating”). Besides, the word “chitarrino” (literally “little guitar”), it’s one of the ancient popular ways to say (and not to say)... the rear end. It follows that Figaro would gladly make the Count dance (or even caper) kicking his arse! At least a symbolic revenge of that “sacrilegious kick” Mozart had received up his backside from Count Arco, chief steward of the Archbishop of Salzburg, five years before, when he asked to took leave of his angry employer.
L...
published: 28 Oct 2014
3:01
The Magic Flute – Queen of the Night aria (Mozart; Diana Damrau, The Royal Opera)
Enjoy this video? Subscribe to our channel to receive notifications about new ballet and opera clips.
To book tickets or find out more about the Royal Opera Ho...
Enjoy this video? Subscribe to our channel to receive notifications about new ballet and opera clips.
To book tickets or find out more about the Royal Opera House, head to www.roh.org.uk
---
Soprano Diana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute, with Dorothea Röschmann as Pamina.
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.
https://wn.com/The_Magic_Flute_–_Queen_Of_The_Night_Aria_(Mozart_Diana_Damrau,_The_Royal_Opera)
Enjoy this video? Subscribe to our channel to receive notifications about new ballet and opera clips.
To book tickets or find out more about the Royal Opera House, head to www.roh.org.uk
---
Soprano Diana Damrau sings 'Der Hölle Rache', the famous Queen of the Night aria from Mozart's The Magic Flute, with Dorothea Röschmann as Pamina.
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.
- published: 19 Oct 2017
- views: 59751526
2:54:23
Mozart - Don Giovanni - complete (English Subtitles) - HD
W.A.Mozart's Don Giovanni complete opera with English subtitles. Zurich 2001 production موزارت モーツァルト
Don Giovanni - Rodney Gilfry
Leporello - László Polgár
Do...
W.A.Mozart's Don Giovanni complete opera with English subtitles. Zurich 2001 production موزارت モーツァルト
Don Giovanni - Rodney Gilfry
Leporello - László Polgár
Donna Anna - Isabel Rey
Don Ottavio - Roberto Saccà
Donna Elvira - Cecilia Bartoli
Zerlina - Liliana Nikiteanu
Masetto - Oliver Widmer
Commendatore - Matti Salminen
Conductor - Nikolaus Harnoncount
Director - Brian Large
Music - Wolfgang Amadeus Mozart
Libretto - Lorenzo Da Ponte
Country - Switzerland
Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart and Italian libretto by Lorenzo Da Ponte. It is based on the legends of Don Juan, a fictional libertine and seducer
https://wn.com/Mozart_Don_Giovanni_Complete_(English_Subtitles)_Hd
W.A.Mozart's Don Giovanni complete opera with English subtitles. Zurich 2001 production موزارت モーツァルト
Don Giovanni - Rodney Gilfry
Leporello - László Polgár
Donna Anna - Isabel Rey
Don Ottavio - Roberto Saccà
Donna Elvira - Cecilia Bartoli
Zerlina - Liliana Nikiteanu
Masetto - Oliver Widmer
Commendatore - Matti Salminen
Conductor - Nikolaus Harnoncount
Director - Brian Large
Music - Wolfgang Amadeus Mozart
Libretto - Lorenzo Da Ponte
Country - Switzerland
Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart and Italian libretto by Lorenzo Da Ponte. It is based on the legends of Don Juan, a fictional libertine and seducer
- published: 05 Nov 2017
- views: 896569
2:26
The Magic Flute – 'Pa–, pa–, pa–, Papageno' duet (Mozart; Gansch, Williams; The Royal Opera)
Mozart’s glorious opera is brought enchantingly to life in David McVicar’s production with beautiful designs by John Macfarlane. Christina Gansch and Roderick W...
Mozart’s glorious opera is brought enchantingly to life in David McVicar’s production with beautiful designs by John Macfarlane. Christina Gansch and Roderick Williams sing the 'Pa-, pa-, pa-, Papageno' duet. Subscribe to our channel and find out more at https://www.roh.org.uk/productions/the-magic-flute-by-david-mcvicar.
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.
https://wn.com/The_Magic_Flute_–_'Pa–,_Pa–,_Pa–,_Papageno'_Duet_(Mozart_Gansch,_Williams_The_Royal_Opera)
Mozart’s glorious opera is brought enchantingly to life in David McVicar’s production with beautiful designs by John Macfarlane. Christina Gansch and Roderick Williams sing the 'Pa-, pa-, pa-, Papageno' duet. Subscribe to our channel and find out more at https://www.roh.org.uk/productions/the-magic-flute-by-david-mcvicar.
Mozart wrote Die Zauberflöte (The Magic Flute) for a suburban theatre in Vienna, the Theater auf der Wieden. He drew on the magical spectacle and earthy comedy of popular Viennese theatre. As well as being a comedy, The Magic Flute is an expression of Mozart’s profound spiritual beliefs: Enlightenment concerns with the search for wisdom and virtue are at the heart of this enchanting tale. The Magic Flute was an instant success with audiences and Mozart’s supposed rival Salieri described it as an ‘operone’ – a great opera.
David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias.
- published: 25 Sep 2019
- views: 567823
2:57:04
Sir Thomas Allen directs Mozart The Marriage of Figaro
Find out more about the Royal College of Music at http://www.rcm.ac.uk
Esteemed baritone and RCM alumnus Sir Thomas Allen directs a rousing performance of Moza...
Find out more about the Royal College of Music at http://www.rcm.ac.uk
Esteemed baritone and RCM alumnus Sir Thomas Allen directs a rousing performance of Mozart's much-loved comic opera, produced by the RCM Opera Studio.
Composed in 1786, Mozart's classic opera has all the ingredients of a modern rom com: love, revenge and deception. Watch courtship turn to chaos for two servants, Figaro and Susanna, as their plans to wed are thwarted by the lecherous Count Almaviva. Lose yourself in Mozart's timeless melodies and witty libretto as the talented cast lead us through a myriad of mistaken identities, mishaps and misunderstandings.
Will our hero finally get his bride, or will the marriage of Figaro ultimately descend into mayhem?
The performance is sung in Italian.
Count Almaviva: Harry Thatcher
Countess Rosina Almaviva: Josephine Goddard
Susanna: Julieth Lozano
Figaro: Adam Maxey
Cherubino: Lauren Joyanne Morris
Marcellina: Katy Thomson
Bartolo: Timothy Edlin
Basilio: Joel Williams
Don Curzio: Samuel Jenkins
Barbarina: Poppy Shotts
Antonio: Conall O’Neill
Housemaid 1: Camilla Harris
Housemaid 2 : Jessica Cale
Wet Nurse: Annabel Kennedy
Head Housekeeper: Rebecca Leggett
Kitchen Maids: Alice Ruxandra Bell & Olivia Turner
Laundry Maid: Samantha Gaspe
Dairy Maid: Rebekah Jones
Gardeners: Dafydd Allen, Peter Edge, Conall O’Neill &Humphrey Thompson
Footmen: Peter Dunn & Matthew Keighley
Head Footman: Xavier Hetherington
Stable Boys: Michael Bell & Adam West
RCM Opera Orchestra
Conductor: Michael Rosewell
Director: Sir Thomas Allen
Set Designer: Lottie Higlett
Lighting Designer: Rory Beaton
Act I: 00:00:00
Act II: 00:47:26
Act III: 01:36:57
Act IV: 02:19:38
Recorded in November 2018 in the Britten Theatre at the Royal College of Music in London.
See what the #RCMCommunity is doing right now by following us on social media.
https://www.facebook.com/royalcollegeofmusic
https://twitter.com/RCMLondon
https://www.instagram.com/rcmlondon/
https://wn.com/Sir_Thomas_Allen_Directs_Mozart_The_Marriage_Of_Figaro
Find out more about the Royal College of Music at http://www.rcm.ac.uk
Esteemed baritone and RCM alumnus Sir Thomas Allen directs a rousing performance of Mozart's much-loved comic opera, produced by the RCM Opera Studio.
Composed in 1786, Mozart's classic opera has all the ingredients of a modern rom com: love, revenge and deception. Watch courtship turn to chaos for two servants, Figaro and Susanna, as their plans to wed are thwarted by the lecherous Count Almaviva. Lose yourself in Mozart's timeless melodies and witty libretto as the talented cast lead us through a myriad of mistaken identities, mishaps and misunderstandings.
Will our hero finally get his bride, or will the marriage of Figaro ultimately descend into mayhem?
The performance is sung in Italian.
Count Almaviva: Harry Thatcher
Countess Rosina Almaviva: Josephine Goddard
Susanna: Julieth Lozano
Figaro: Adam Maxey
Cherubino: Lauren Joyanne Morris
Marcellina: Katy Thomson
Bartolo: Timothy Edlin
Basilio: Joel Williams
Don Curzio: Samuel Jenkins
Barbarina: Poppy Shotts
Antonio: Conall O’Neill
Housemaid 1: Camilla Harris
Housemaid 2 : Jessica Cale
Wet Nurse: Annabel Kennedy
Head Housekeeper: Rebecca Leggett
Kitchen Maids: Alice Ruxandra Bell & Olivia Turner
Laundry Maid: Samantha Gaspe
Dairy Maid: Rebekah Jones
Gardeners: Dafydd Allen, Peter Edge, Conall O’Neill &Humphrey Thompson
Footmen: Peter Dunn & Matthew Keighley
Head Footman: Xavier Hetherington
Stable Boys: Michael Bell & Adam West
RCM Opera Orchestra
Conductor: Michael Rosewell
Director: Sir Thomas Allen
Set Designer: Lottie Higlett
Lighting Designer: Rory Beaton
Act I: 00:00:00
Act II: 00:47:26
Act III: 01:36:57
Act IV: 02:19:38
Recorded in November 2018 in the Britten Theatre at the Royal College of Music in London.
See what the #RCMCommunity is doing right now by following us on social media.
https://www.facebook.com/royalcollegeofmusic
https://twitter.com/RCMLondon
https://www.instagram.com/rcmlondon/
- published: 26 Aug 2020
- views: 826852
1:56:02
The Best of Mozart
🎧 Listen to our playlist on Spotify: https://open.spotify.com/playlist/0VxY2QCkOpDrHVz3tYz0Tu
💿 Order “Mozart: Classical Music Masterpieces" (Vinyl) on Amazon!...
🎧 Listen to our playlist on Spotify: https://open.spotify.com/playlist/0VxY2QCkOpDrHVz3tYz0Tu
💿 Order “Mozart: Classical Music Masterpieces" (Vinyl) on Amazon! ✨ https://lnk.to/MozartMasterpiecesVinyl
💿 Order "Wolfgang Amadeus Mozart" (10-CD Box Set) on Amazon! https://lnk.to/Mozart10CD
🛍️Visit the Halidon shop on Amazon : https://lnk.to/StoreHalidon
👉 The HalidonMusic Sync Licensing platform is now live at https://licensing.halidonmusic.com
📧 Subscribe to our newsletter and get a 20% discount on the Halidon Music Store: https://www.halidonmusic.com/en/newsletter.html
☕ If you like what we do and would like to support us, you can now buy us a coffee: https://www.buymeacoffee.com/halidonmusic. Donations will go towards keeping the YouTube channel going and funding new recording sessions with our amazing team of artists. Thank you! 🙏
THE BEST OF MOZART
1. Eine Kleine Nachtmusik, K. 525: I. Allegro (00:00) - Budapest Scoring Symphonic Orchestra
2. Eine Kleine Nachtmusik, K. 525: II. Romanze - Andante (07:45) - Budapest Scoring Symphonic Orchestra
3. Eine Kleine Nachtmusik, K. 525: III. Menuetto - Allegretto (12:50) - Budapest Scoring Symphonic Orchestra
4. Eine Kleine Nachtmusik, K. 525: IV. Rondo - Allegro (14:50) - Budapest Scoring Symphonic Orchestra
5. Symphony No 35 in D major, K. 385 (Haffner Symphony): I. Allegro con spirito (20:08) - Budapest Scoring Symphonic Orchestra
6. Symphony No 35 in D major, K. 385 (Haffner Symphony): IV. Presto (25:54) - Budapest Scoring Symphonic Orchestra
7. Symphony No 40 in G minor, KV. 550: I. Molto Allegro (29:53) - Budapest Scoring Symphonic Orchestra
8. The Magic Flute: Overture (37:29) - Budapest Scoring Symphonic Orchestra
9. The Marriage of Figaro: Overture (44:41) - Budapest Scoring Symphonic Orchestra
10. String Quartet No. 23 in F major, K. 590: I. Allegro moderato (49:12) - Accord quartet
11. String Quartet No. 23 in F major, K. 590: IV. Allegro (58:13) - Accord quartet
12. String Quartet No. 20 in D major, K. 499: II. Menuetto and Trio. Allegretto (1:03:17) - Accord quartet
13. Violin Sonata No. 26 in B-flat major, K. 378: III. Rondo. Allegro (1:06:38) - Accord quartet
14. Piano Concerto No. 21 in C major, K. 467: II. Andante (1:10:46) - Csabay Domonkos
15. Piano Concerto No. 23 in A major, K. 488: I. Allegro (1:16:25) - Csabay Domonkos
16. Piano Sonata No. 11 in A major, K. 331: III. Alla Turca (1:27:15) - Csabay Domonkos
17. Clarinet Concerto in A major, K. 622: II. Adagio (1:29:35) - Budapest Scoring Symphonic Orchestra
18. Violin Concerto No. 3 in G major, K. 216: I. Allegro (1:36:36) - Budapest Scoring Symphonic Orchestra
19. Flute Concerto No. 2 in D major, K. 314: II. Adagio non troppo (1:46:08) - Budapest Scoring Symphonic Orchestra
20. Horn Concerto No. 3 in E-flat major, K. 447: II. Romance. Larghetto (1:51:36) - Budapest Scoring Symphonic Orchestra
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the classical era.
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his early death have been much mythologized.
He composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".
Thank you so much for watching this video by Halidon Music channel, we hope you enjoyed it! Don't forget to share it
All the best classical music ever on Halidon Music Youtube Channel: The Best Classical Music Playlist Mix, The Best Classical Music For Studying, Classical Music For Reading, Classical Music For Concentration, Classical Music for Sleeping and Relaxation, Instrumental Music, Background Music, Opera Music, Piano, Violin & Orchestral Masterpieces by the greatest composers of all time.
The very best of Mozart, Beethoven, Bach, Chopin, Tchaikovsky, Vivaldi, Schubert, Handel, Liszt, Haydn, Strauss, Verdi, Brahms, Wagner, Mahler, Rossini, Ravel, Grieg, Ravel, Dvorák…
#mozart #classicalmusic
https://wn.com/The_Best_Of_Mozart
🎧 Listen to our playlist on Spotify: https://open.spotify.com/playlist/0VxY2QCkOpDrHVz3tYz0Tu
💿 Order “Mozart: Classical Music Masterpieces" (Vinyl) on Amazon! ✨ https://lnk.to/MozartMasterpiecesVinyl
💿 Order "Wolfgang Amadeus Mozart" (10-CD Box Set) on Amazon! https://lnk.to/Mozart10CD
🛍️Visit the Halidon shop on Amazon : https://lnk.to/StoreHalidon
👉 The HalidonMusic Sync Licensing platform is now live at https://licensing.halidonmusic.com
📧 Subscribe to our newsletter and get a 20% discount on the Halidon Music Store: https://www.halidonmusic.com/en/newsletter.html
☕ If you like what we do and would like to support us, you can now buy us a coffee: https://www.buymeacoffee.com/halidonmusic. Donations will go towards keeping the YouTube channel going and funding new recording sessions with our amazing team of artists. Thank you! 🙏
THE BEST OF MOZART
1. Eine Kleine Nachtmusik, K. 525: I. Allegro (00:00) - Budapest Scoring Symphonic Orchestra
2. Eine Kleine Nachtmusik, K. 525: II. Romanze - Andante (07:45) - Budapest Scoring Symphonic Orchestra
3. Eine Kleine Nachtmusik, K. 525: III. Menuetto - Allegretto (12:50) - Budapest Scoring Symphonic Orchestra
4. Eine Kleine Nachtmusik, K. 525: IV. Rondo - Allegro (14:50) - Budapest Scoring Symphonic Orchestra
5. Symphony No 35 in D major, K. 385 (Haffner Symphony): I. Allegro con spirito (20:08) - Budapest Scoring Symphonic Orchestra
6. Symphony No 35 in D major, K. 385 (Haffner Symphony): IV. Presto (25:54) - Budapest Scoring Symphonic Orchestra
7. Symphony No 40 in G minor, KV. 550: I. Molto Allegro (29:53) - Budapest Scoring Symphonic Orchestra
8. The Magic Flute: Overture (37:29) - Budapest Scoring Symphonic Orchestra
9. The Marriage of Figaro: Overture (44:41) - Budapest Scoring Symphonic Orchestra
10. String Quartet No. 23 in F major, K. 590: I. Allegro moderato (49:12) - Accord quartet
11. String Quartet No. 23 in F major, K. 590: IV. Allegro (58:13) - Accord quartet
12. String Quartet No. 20 in D major, K. 499: II. Menuetto and Trio. Allegretto (1:03:17) - Accord quartet
13. Violin Sonata No. 26 in B-flat major, K. 378: III. Rondo. Allegro (1:06:38) - Accord quartet
14. Piano Concerto No. 21 in C major, K. 467: II. Andante (1:10:46) - Csabay Domonkos
15. Piano Concerto No. 23 in A major, K. 488: I. Allegro (1:16:25) - Csabay Domonkos
16. Piano Sonata No. 11 in A major, K. 331: III. Alla Turca (1:27:15) - Csabay Domonkos
17. Clarinet Concerto in A major, K. 622: II. Adagio (1:29:35) - Budapest Scoring Symphonic Orchestra
18. Violin Concerto No. 3 in G major, K. 216: I. Allegro (1:36:36) - Budapest Scoring Symphonic Orchestra
19. Flute Concerto No. 2 in D major, K. 314: II. Adagio non troppo (1:46:08) - Budapest Scoring Symphonic Orchestra
20. Horn Concerto No. 3 in E-flat major, K. 447: II. Romance. Larghetto (1:51:36) - Budapest Scoring Symphonic Orchestra
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the classical era.
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his early death have been much mythologized.
He composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".
Thank you so much for watching this video by Halidon Music channel, we hope you enjoyed it! Don't forget to share it
All the best classical music ever on Halidon Music Youtube Channel: The Best Classical Music Playlist Mix, The Best Classical Music For Studying, Classical Music For Reading, Classical Music For Concentration, Classical Music for Sleeping and Relaxation, Instrumental Music, Background Music, Opera Music, Piano, Violin & Orchestral Masterpieces by the greatest composers of all time.
The very best of Mozart, Beethoven, Bach, Chopin, Tchaikovsky, Vivaldi, Schubert, Handel, Liszt, Haydn, Strauss, Verdi, Brahms, Wagner, Mahler, Rossini, Ravel, Grieg, Ravel, Dvorák…
#mozart #classicalmusic
- published: 08 Jan 2013
- views: 255347668
2:28:01
Mozart: Don Giovanni (Full Opera)
Wolfgang Amadeus Mozart
Don Giovanni, ossia Il Dissoluto Punito
Performed by Orchestra Filarmonica Italiana
Conductor: Alessandro Arigoni
DON GIOVANNI: Lorenz...
Wolfgang Amadeus Mozart
Don Giovanni, ossia Il Dissoluto Punito
Performed by Orchestra Filarmonica Italiana
Conductor: Alessandro Arigoni
DON GIOVANNI: Lorenzo Battagion
COMMENDATORE: Marco Pauluzzo
DONNA ANNA: Alexandra Zabala
DON OTTAVIO: Enrico Iviglia
DONNA ELVIRA: Frances Ginsberg
LEPORELLO: Gabriele Bolletta
MASETTO: Zaha Katsuhisa
ZERLINA: Monica Tarone
📖 ITA/ENG libretto: https://bit.ly/DonGiovanniLibretto
👉 SYNOPSIS: https://bit.ly/DonGiovanniSynopsis
Act 1
0:00:00 Overture
0:06:47 Notte e giorno fatigar
0:11:43 Leporello, ove sei?
0:12:24 Ma qual mai s'offre, oh Dei
0:19:37 Ah! Chi mi dice mai
0:21:56 Chi è là?
0:25:37 Madamina, il catalogo è questo
0:31:37 Giovinette che fate all’amore
0:33:10 Manco male, è partita
0:35:10 Ho capito, signorsì!
0:36:31 Alfin siam liberati
0:38:39 Là ci darem la mano
0:42:38 Mi par ch'oggi il demonio si diverta
0:43:58 Non ti fidar, o misera
0:47:48 Povera sventurata
0:48:16 Don Ottavio... son morta!
0:54:35 Come mai creder deggio
0:55:07 Dalla sua pace la mia
0:59:44 Io deggio ad ogni patto
1:01:42 Finch'han del vino
1:03:17 Masetto, senti un po'
1:04:02 Batti, batti, o bel Masetto
1:08:05 Riposate, vezzose ragazze
1:09:32 Venite pure avanti
Act 2
1:17:25 Eh via, buffone, non mi seccar
1:18:33 Leporello, vien qui
1:19:48 Ah! Taci, ingiusto core
1:24:16 Amico, che ti par?
1:26:52 Deh! Vieni alla finestra
1:29:15 V'è gente alla finestra
1:30:21 Metà di voi qua vadano
1:32:24 Zitto! Lascia ch'io senta
1:34:48 Vedrai, carino, se sei buonino
1:39:08 Di molte faci il lume
1:39:44 Sola, sola in buio loco
1:47:16 Dunque quello sei tu
1:47:47 Ah! Pietà, signori miei
1:49:43 Ferma, perfido; ferma
1:50:24 Il mio tesoro intanto
1:54:56 In quali eccessi, o numi
2:02:03 Ah, ah, ah! questa è buona
2:06:31 Oh statua gentilissima
2:10:22 Calmatevi, idol mio
2:11:11 Crudele? Ah no, mio bene
2:18:21 Già la mensa è preparata
2:27:15 Don Giovanni! A cenar teco
Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte. Its subject is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra. It is a dramma giocoso blending comedy, melodrama and supernatural elements (although the composer entered it into his catalogue simply as opera buffa). It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the Estates Theatre, on 29 October 1787. Don Giovanni is regarded as one of the greatest operas of all time and has proved a fruitful subject for commentary in its own right; critic Fiona Maddocks has described it as one of Mozart's "trio of masterpieces with librettos by Da Ponte".
Similar videos:
Puccini: Madama Butterfly (Full Opera Live) https://youtu.be/IYrbdiee9SU
Bizet: Carmen (Full Opera Live) https://youtu.be/u_VkfIthWHo
Puccini: La Bohème (Full Opera Live) https://youtu.be/P-zWV6B-C54
#mozart #opera
https://wn.com/Mozart_Don_Giovanni_(Full_Opera)
Wolfgang Amadeus Mozart
Don Giovanni, ossia Il Dissoluto Punito
Performed by Orchestra Filarmonica Italiana
Conductor: Alessandro Arigoni
DON GIOVANNI: Lorenzo Battagion
COMMENDATORE: Marco Pauluzzo
DONNA ANNA: Alexandra Zabala
DON OTTAVIO: Enrico Iviglia
DONNA ELVIRA: Frances Ginsberg
LEPORELLO: Gabriele Bolletta
MASETTO: Zaha Katsuhisa
ZERLINA: Monica Tarone
📖 ITA/ENG libretto: https://bit.ly/DonGiovanniLibretto
👉 SYNOPSIS: https://bit.ly/DonGiovanniSynopsis
Act 1
0:00:00 Overture
0:06:47 Notte e giorno fatigar
0:11:43 Leporello, ove sei?
0:12:24 Ma qual mai s'offre, oh Dei
0:19:37 Ah! Chi mi dice mai
0:21:56 Chi è là?
0:25:37 Madamina, il catalogo è questo
0:31:37 Giovinette che fate all’amore
0:33:10 Manco male, è partita
0:35:10 Ho capito, signorsì!
0:36:31 Alfin siam liberati
0:38:39 Là ci darem la mano
0:42:38 Mi par ch'oggi il demonio si diverta
0:43:58 Non ti fidar, o misera
0:47:48 Povera sventurata
0:48:16 Don Ottavio... son morta!
0:54:35 Come mai creder deggio
0:55:07 Dalla sua pace la mia
0:59:44 Io deggio ad ogni patto
1:01:42 Finch'han del vino
1:03:17 Masetto, senti un po'
1:04:02 Batti, batti, o bel Masetto
1:08:05 Riposate, vezzose ragazze
1:09:32 Venite pure avanti
Act 2
1:17:25 Eh via, buffone, non mi seccar
1:18:33 Leporello, vien qui
1:19:48 Ah! Taci, ingiusto core
1:24:16 Amico, che ti par?
1:26:52 Deh! Vieni alla finestra
1:29:15 V'è gente alla finestra
1:30:21 Metà di voi qua vadano
1:32:24 Zitto! Lascia ch'io senta
1:34:48 Vedrai, carino, se sei buonino
1:39:08 Di molte faci il lume
1:39:44 Sola, sola in buio loco
1:47:16 Dunque quello sei tu
1:47:47 Ah! Pietà, signori miei
1:49:43 Ferma, perfido; ferma
1:50:24 Il mio tesoro intanto
1:54:56 In quali eccessi, o numi
2:02:03 Ah, ah, ah! questa è buona
2:06:31 Oh statua gentilissima
2:10:22 Calmatevi, idol mio
2:11:11 Crudele? Ah no, mio bene
2:18:21 Già la mensa è preparata
2:27:15 Don Giovanni! A cenar teco
Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte. Its subject is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra. It is a dramma giocoso blending comedy, melodrama and supernatural elements (although the composer entered it into his catalogue simply as opera buffa). It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the Estates Theatre, on 29 October 1787. Don Giovanni is regarded as one of the greatest operas of all time and has proved a fruitful subject for commentary in its own right; critic Fiona Maddocks has described it as one of Mozart's "trio of masterpieces with librettos by Da Ponte".
Similar videos:
Puccini: Madama Butterfly (Full Opera Live) https://youtu.be/IYrbdiee9SU
Bizet: Carmen (Full Opera Live) https://youtu.be/u_VkfIthWHo
Puccini: La Bohème (Full Opera Live) https://youtu.be/P-zWV6B-C54
#mozart #opera
- published: 26 Mar 2023
- views: 95040
3:13:24
MOZART - COSI' FAN TUTTE (1790) with double subs It-Eng
According to Stendhal, to enjoy an opera sung in a language that we do not know, it would be enough to have just a basic outline of the plot. In my view, in the...
According to Stendhal, to enjoy an opera sung in a language that we do not know, it would be enough to have just a basic outline of the plot. In my view, in the case of Mozart, this would mean neglecting the close attention he always paid not only to the dramaturgy but to every word of his operas’ libretti; and, as regards those of Da Ponte, it would mean overlooking three great comedies. Not for nothing, Stendhal was one of the detractors of “Così Fan Tutte”, joining his to Wagner’s, Beethoven’s and other’s hasty and superficial misjudgments that condemned in particular its text as frivolous, if not “immoral and trivial”, “unworthy of Mozart’s genius” (so did Beethoven, and yes, “Così” is not “Fidelio”!)
- But let me say… Trivial??? You’ll never know what you’ve missed! -
Perhaps, the lack of a well-established literary source (unlike the other two Mozart-Da Ponte operas) left this libretto more vulnerable to criticism, but actually, many elements of the plot had an ancient and noble ancestry and were widely spread in Europe culture of the 18th century and in particular in the Burgtheater’s repertory of those times.
Unfortunately, a text so full of sophisticated literary and operatic quotations, allusions, sayings, proverbs was hardly conveyable in other languages (in the first performances it was available in Italian only, or in a clumsy German translation). Thus it was, in fact, altogether ignored or misinterpreted, and the work, as that miracle of balance and symmetry Mozart and Da Ponte had conceived, risked being definitively lost through the distortions, mutilations and odd adaptations to new libretti it suffered over the next century.
Besides, frivolous? Immoral? Woe if Da Ponte hadn’t treated gaily and lightly an experiment, moreover involving a wager, to demonstrate women’s fickleness! (a subject probably inspired by a recent society scandal in Vienna). It would have been unbearably hateful and cynical, if delivered too seriously or realistically (thing however impossible, within the 24-hours of the three unities rule), as well as it would have been, if rendered with an excess of buffoonery. No, Da Ponte displays all his literary prowess in conceiving a human intermingling of truth and illusion, superficiality and profundity, and in rendering it then with a predominantly humorous mode, through overt theatricality, witty parodies, and broad comedy, but not excluding moments of sincere emotion. And Mozart displays all his brilliant inventiveness in conveying, with the tiniest details of his musical choices (deploying of instruments, cadences, rhythm, modulations…), every trait of the text, from biting irony to heartfelt empathy, as and when the two couples of betrothed lose their shallowness and acquire human depth.
As always, Da Ponte’s witty, refined, and well-constructed writing offers Mozart the opportunity to insert music from multiple traditions, which responds to and furthers with equal allusive strength what the text suggests. They give proof of misinterpreting this libretto or ignoring the close collaboration Mozart-Da Ponte, those who talk about discrepancy between “Così”’s music and text, whereas, on the contrary, there are always perfect synergy and interaction.
With an intentionally ambiguous tactic, Da Ponte and Mozart bring us continually almost on the verge of emotional involvement, only to swerve again towards irony at the last moment. There's no shortage of humor even in the forgiving scene immediately before the final moral!
But, to understand and fully appreciate much of the ingenuity on the part of composer and librettist together, to grasp irony within ambiguity, to recognize the satirical intent even when the line between pathos and parody becomes finer, it is necessary to follow the words throughout the opera, recitatives included!
“Così” is preeminently an opera of ensembles, where the characters’ different emotions and views on the events can confront each other simultaneously or rapidly overlapping. I’ve unraveled their lines individually, not only to reveal all that insightful wit which traditional subtitles often cut out, but also to highlight the athletic vocal writing of one of Mozart's most difficult scores.
January 26 2020 the 230th anniversary of its premiere.
CAST:
Fiordiligi: Barbara Frittoli
Dorabella: Angelika Kirchschlager
Guglielmo: Bo Skovhus
Ferrando: Michael Schade
Despina: Monica Bacelli
Don Alfonso: Alessandro Corbelli
Chorus and Orchestra of Vienna State Opera
Conductor: Riccardo Muti
directed for the stage by Roberto de Simone
directed for TV by Brian Large
Recorded live at the Theater an der Wien, Vienna, 1996.
https://wn.com/Mozart_Cosi'_Fan_Tutte_(1790)_With_Double_Subs_It_Eng
According to Stendhal, to enjoy an opera sung in a language that we do not know, it would be enough to have just a basic outline of the plot. In my view, in the case of Mozart, this would mean neglecting the close attention he always paid not only to the dramaturgy but to every word of his operas’ libretti; and, as regards those of Da Ponte, it would mean overlooking three great comedies. Not for nothing, Stendhal was one of the detractors of “Così Fan Tutte”, joining his to Wagner’s, Beethoven’s and other’s hasty and superficial misjudgments that condemned in particular its text as frivolous, if not “immoral and trivial”, “unworthy of Mozart’s genius” (so did Beethoven, and yes, “Così” is not “Fidelio”!)
- But let me say… Trivial??? You’ll never know what you’ve missed! -
Perhaps, the lack of a well-established literary source (unlike the other two Mozart-Da Ponte operas) left this libretto more vulnerable to criticism, but actually, many elements of the plot had an ancient and noble ancestry and were widely spread in Europe culture of the 18th century and in particular in the Burgtheater’s repertory of those times.
Unfortunately, a text so full of sophisticated literary and operatic quotations, allusions, sayings, proverbs was hardly conveyable in other languages (in the first performances it was available in Italian only, or in a clumsy German translation). Thus it was, in fact, altogether ignored or misinterpreted, and the work, as that miracle of balance and symmetry Mozart and Da Ponte had conceived, risked being definitively lost through the distortions, mutilations and odd adaptations to new libretti it suffered over the next century.
Besides, frivolous? Immoral? Woe if Da Ponte hadn’t treated gaily and lightly an experiment, moreover involving a wager, to demonstrate women’s fickleness! (a subject probably inspired by a recent society scandal in Vienna). It would have been unbearably hateful and cynical, if delivered too seriously or realistically (thing however impossible, within the 24-hours of the three unities rule), as well as it would have been, if rendered with an excess of buffoonery. No, Da Ponte displays all his literary prowess in conceiving a human intermingling of truth and illusion, superficiality and profundity, and in rendering it then with a predominantly humorous mode, through overt theatricality, witty parodies, and broad comedy, but not excluding moments of sincere emotion. And Mozart displays all his brilliant inventiveness in conveying, with the tiniest details of his musical choices (deploying of instruments, cadences, rhythm, modulations…), every trait of the text, from biting irony to heartfelt empathy, as and when the two couples of betrothed lose their shallowness and acquire human depth.
As always, Da Ponte’s witty, refined, and well-constructed writing offers Mozart the opportunity to insert music from multiple traditions, which responds to and furthers with equal allusive strength what the text suggests. They give proof of misinterpreting this libretto or ignoring the close collaboration Mozart-Da Ponte, those who talk about discrepancy between “Così”’s music and text, whereas, on the contrary, there are always perfect synergy and interaction.
With an intentionally ambiguous tactic, Da Ponte and Mozart bring us continually almost on the verge of emotional involvement, only to swerve again towards irony at the last moment. There's no shortage of humor even in the forgiving scene immediately before the final moral!
But, to understand and fully appreciate much of the ingenuity on the part of composer and librettist together, to grasp irony within ambiguity, to recognize the satirical intent even when the line between pathos and parody becomes finer, it is necessary to follow the words throughout the opera, recitatives included!
“Così” is preeminently an opera of ensembles, where the characters’ different emotions and views on the events can confront each other simultaneously or rapidly overlapping. I’ve unraveled their lines individually, not only to reveal all that insightful wit which traditional subtitles often cut out, but also to highlight the athletic vocal writing of one of Mozart's most difficult scores.
January 26 2020 the 230th anniversary of its premiere.
CAST:
Fiordiligi: Barbara Frittoli
Dorabella: Angelika Kirchschlager
Guglielmo: Bo Skovhus
Ferrando: Michael Schade
Despina: Monica Bacelli
Don Alfonso: Alessandro Corbelli
Chorus and Orchestra of Vienna State Opera
Conductor: Riccardo Muti
directed for the stage by Roberto de Simone
directed for TV by Brian Large
Recorded live at the Theater an der Wien, Vienna, 1996.
- published: 14 Oct 2019
- views: 160742
1:40:43
25 Best Opera Arias - favourites from Puccini, Verdi, Mozart and more
Enjoy this selection of some of the best loved operatic arias in the repertoire. A selection of great tunes from the greats of the genre including Verdi, Puccin...
Enjoy this selection of some of the best loved operatic arias in the repertoire. A selection of great tunes from the greats of the genre including Verdi, Puccini, Mozart, Donizetti and many others.
25 Best Opera Arias
00:00:00 Puccini: Gianni Schicchi - O mio babbino caro
00:02:36 Rossini: Il barbiere di Siviglia: Largo al factotum (Cavatina)
00:07:09 Mozart: Die Zauberflöte - Queen Of The Night
00:10:13 Puccini: La Bohème - Mi chiamano Mimì
00:14:58 Donizetti: L’Elisir d’Amore - Una furtiva lagrima
00:19:50 Verdi: Rigoletto - La donna é mobile
00:22:02 Puccini: Tosca - E lucevan le stelle
00:25:14 Mozart: Le nozze di Figaro - Non più andrai
00:29:06 Bellini: Norma - Casta diva
00:35:52 Verdi: Un ballo in maschera - Ma se m’e forza perderti
00:40:47 Puccini: Turandot - Nessun dorma
00:44:56 Leoncavallo: Pagliacci - Vesti la giubba
00:48:51 Verdi: La Traviata - Sempre libera
00:52:33 Saint-Saëns: Samson and Delilah - Mon coeur s’ouvre à ta voix
00:58:19 Puccini: Tosca - Vissi d’arte
01:01:37 Bizet: Les pêcheurs de perles - Au fond du temple saint
01:06:11 Mozart: Le nozze di Figaro - Cinque… dieci… Venti (No. 1 Duettino)
01:08:56 Verdi: Rigoletto - Ella mi fu rapita…Parmi veder le lagrime
01:13:51 Puccini: Manon Lescaut - Donna non vidi mai
01:16:30 Massenet: Werther - Pourquoi me réveiller
01:19:26 Offenbach: Tales of Hoffmann - Barcarolle
01:23:11 Verdi: Luisa Miller - Quando le sere al placido
01:28:45 Puccini: Gianni Schicchi - Firenze è come un albero fiorito
01:32:02 Verdi: Il Trovatore - Ah si’ ben mio coll’essere
01:35:05 Giordano: Andrea Chenier - La Mamma Morta
Classical At Home brings you expertly curated playlists of classical music across all genres, moods and eras.
If you enjoyed this video please Like!
If you would enjoy more compilations for your listening pleasure wherever you are and whatever you're doing subscribe here - https://cutt.ly/ClassicalAtHomeSubscribe
#ClassicalAtHome #opera #aria
https://wn.com/25_Best_Opera_Arias_Favourites_From_Puccini,_Verdi,_Mozart_And_More
Enjoy this selection of some of the best loved operatic arias in the repertoire. A selection of great tunes from the greats of the genre including Verdi, Puccini, Mozart, Donizetti and many others.
25 Best Opera Arias
00:00:00 Puccini: Gianni Schicchi - O mio babbino caro
00:02:36 Rossini: Il barbiere di Siviglia: Largo al factotum (Cavatina)
00:07:09 Mozart: Die Zauberflöte - Queen Of The Night
00:10:13 Puccini: La Bohème - Mi chiamano Mimì
00:14:58 Donizetti: L’Elisir d’Amore - Una furtiva lagrima
00:19:50 Verdi: Rigoletto - La donna é mobile
00:22:02 Puccini: Tosca - E lucevan le stelle
00:25:14 Mozart: Le nozze di Figaro - Non più andrai
00:29:06 Bellini: Norma - Casta diva
00:35:52 Verdi: Un ballo in maschera - Ma se m’e forza perderti
00:40:47 Puccini: Turandot - Nessun dorma
00:44:56 Leoncavallo: Pagliacci - Vesti la giubba
00:48:51 Verdi: La Traviata - Sempre libera
00:52:33 Saint-Saëns: Samson and Delilah - Mon coeur s’ouvre à ta voix
00:58:19 Puccini: Tosca - Vissi d’arte
01:01:37 Bizet: Les pêcheurs de perles - Au fond du temple saint
01:06:11 Mozart: Le nozze di Figaro - Cinque… dieci… Venti (No. 1 Duettino)
01:08:56 Verdi: Rigoletto - Ella mi fu rapita…Parmi veder le lagrime
01:13:51 Puccini: Manon Lescaut - Donna non vidi mai
01:16:30 Massenet: Werther - Pourquoi me réveiller
01:19:26 Offenbach: Tales of Hoffmann - Barcarolle
01:23:11 Verdi: Luisa Miller - Quando le sere al placido
01:28:45 Puccini: Gianni Schicchi - Firenze è come un albero fiorito
01:32:02 Verdi: Il Trovatore - Ah si’ ben mio coll’essere
01:35:05 Giordano: Andrea Chenier - La Mamma Morta
Classical At Home brings you expertly curated playlists of classical music across all genres, moods and eras.
If you enjoyed this video please Like!
If you would enjoy more compilations for your listening pleasure wherever you are and whatever you're doing subscribe here - https://cutt.ly/ClassicalAtHomeSubscribe
#ClassicalAtHome #opera #aria
- published: 11 Dec 2020
- views: 3869828
3:04:59
MOZART - LE NOZZE DI FIGARO 1786 with double subs It-Eng
0:13:46 - “Se vuol ballare, signor contino, il chitarrino le suonerò”: It’s difficult to render into English the pun of the initial verses of this Cavatina: in ...
0:13:46 - “Se vuol ballare, signor contino, il chitarrino le suonerò”: It’s difficult to render into English the pun of the initial verses of this Cavatina: in Italian, the verb “suonare” (to play) can mean also “to beat somebody” (for example in the idiomatic expression “suonarle a qualcuno” , something like “to give someone a beating”). Besides, the word “chitarrino” (literally “little guitar”), it’s one of the ancient popular ways to say (and not to say)... the rear end. It follows that Figaro would gladly make the Count dance (or even caper) kicking his arse! At least a symbolic revenge of that “sacrilegious kick” Mozart had received up his backside from Count Arco, chief steward of the Archbishop of Salzburg, five years before, when he asked to took leave of his angry employer.
La Contessa d’Almaviva MARCELLA ORSATTI TALAMANCA
Il Conte d’Almaviva PIETRO SPAGNOLI
Susanna DIANA DAMRAU
Figaro ILDEBRANDO D’ARCANGELO
Cherubino MONICA BACELLI
Marcellina JEANNETTE FISHER
Bartolo MAURIZIO MURARO
Barbarina ORIANA KURTESHI
Don Basilio GREGORY BONFATTI
Don Curzio NICOLA PAMIO
Antonio MATTEO PEIRONE
Orchestra e Coro del Teatro alla Scala
Direttore GÉRARD KORSTEN
Regia GIORGIO STREHLER
Stagione 2006 (250° anniversario della nascita di Mozart)
Un ottimo blog dedicato al mondo della musica lirica è Opera Omnia:
http://operaomniablog.blogspot.it/2009/11/si-comincia.html
La prima opera ampiamente commentata è proprio questa.
https://wn.com/Mozart_Le_Nozze_Di_Figaro_1786_With_Double_Subs_It_Eng
0:13:46 - “Se vuol ballare, signor contino, il chitarrino le suonerò”: It’s difficult to render into English the pun of the initial verses of this Cavatina: in Italian, the verb “suonare” (to play) can mean also “to beat somebody” (for example in the idiomatic expression “suonarle a qualcuno” , something like “to give someone a beating”). Besides, the word “chitarrino” (literally “little guitar”), it’s one of the ancient popular ways to say (and not to say)... the rear end. It follows that Figaro would gladly make the Count dance (or even caper) kicking his arse! At least a symbolic revenge of that “sacrilegious kick” Mozart had received up his backside from Count Arco, chief steward of the Archbishop of Salzburg, five years before, when he asked to took leave of his angry employer.
La Contessa d’Almaviva MARCELLA ORSATTI TALAMANCA
Il Conte d’Almaviva PIETRO SPAGNOLI
Susanna DIANA DAMRAU
Figaro ILDEBRANDO D’ARCANGELO
Cherubino MONICA BACELLI
Marcellina JEANNETTE FISHER
Bartolo MAURIZIO MURARO
Barbarina ORIANA KURTESHI
Don Basilio GREGORY BONFATTI
Don Curzio NICOLA PAMIO
Antonio MATTEO PEIRONE
Orchestra e Coro del Teatro alla Scala
Direttore GÉRARD KORSTEN
Regia GIORGIO STREHLER
Stagione 2006 (250° anniversario della nascita di Mozart)
Un ottimo blog dedicato al mondo della musica lirica è Opera Omnia:
http://operaomniablog.blogspot.it/2009/11/si-comincia.html
La prima opera ampiamente commentata è proprio questa.
- published: 28 Oct 2014
- views: 1544940