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Lucia's Mad Scene is one of opera's most popular arias, and for a good reason: is there a more true depicition of human madness in music? Although some have come think that Lucia's aria is only a showpiece for the soprano, it was only a view of the more verisimo-orientated opera world of that time. Many wonderful sopranos, especially Maria Callas, proved that, in the right hands, this scene can become a wonderful dramatic situation, which can break even the coldest heart. In 1959 Joan Sutherland sang the role of Lucia at Covent Garden... well, no need to say what a success it was. Though Joan Sutherland sang Lucia all her career and made several recordings of the opera, I think that her best version of Lucia's Mad Scene was recorded on a small Verdi-Donizetti recital (Operatic arias) in 1959, right after the Covent Garden version. Presented here is the recitative from the aria (I am posting the recititave and the aria separetly). Hope you enjoy (comments are required :-) ).

Joan Sutherland Donizetti Lucia di Lammermoor Coloratura Il dolce suono Lindoro Rossini

The mini-series of uploads from Wallberg's recordings of Donizetti's two great buffo operas continues :)! Adina and Nemorino surprisingly don't actually have a real "suspended-over-time" love duet (similar to, for example, "Tornami a dir"): their first number together narratively follows Adina as she gently pokes fun of Nemorino's sentimental outpourings; while their second duet, a part of the first Finale, finds both characters a bit angry and confused, so no love duettino there. Only in Adina's aria or, to be more precise, its' cabaletta do we get close to the traditional love scene. But the whole thing works without any obligatory nocturnal duettino. The first duet is quite unconventional, mainly due to the fact that it skips the central andante and, after the characters' statements, plunges straight into an impassioned but slowly moving stretta. The music is touching throughout: especially charming are the final two sections ("si, si, si/no, no, no" and the succeeding section) leading up to the climatic Cs from both characters. Lucia Popp and Peter Dvorsky seems to me almost perfect as, respectively, Adina and Nemorino :). Enjoy :)! Your comments will be appreciated.

Donizetti coloratura belcanto tenor soprano classical Lindoro Rossini

Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>

Lucia Popp classical belcanto coloratura Lindoro Rossini

Tenore: LUCIANO PAVAROTTI Pianista ROLANDO NICOLOSI Presenta: PIPPO BAUDO

Rolando Nicolosi Luciano Pavarotti musicsman 09

This new mini-series (three in total) of uploads is dedicated to something of a most pleasant enigma of the musical world: two people, a married couple, who can be considered one of the truly best and complementary singing partnerships in the twentieth century. Both of French-Canadian heritage, both possessors of light, lyric voices of excellent technique; both most suited to classicist works of the 18th century; both extremely lovely people. I'm talking, of course, of Leopold Simoneau and Pierrette Alarie. Their recordings, both presented and available in other sources, testify to a personal and artistic relationship that can only be properly described as "the perfect vocal marriage". As an additional point of interest, I'm providing a short biography of Simoneau, the male part of the duo. Tenor, pefagogue and administrator, Simoneau studied at Levis College and Laval University before continuing voice studies in Montréal with Salvator Issaurel. There he met Pierrette Alarie. A year later he won the Prix Archambault; this led to studies in New York in 1945. He and Pierrette were married in 1946. He moved with his wife to Paris in 1949 to make their debuts at the Opéra Comique. The couple's reputation continued to grow following appearances at the Aix-en-Provence, Edinburgh, Glyndebourne, Vienna, Munich and Salzburg Festivals. Many of their performances on stage, in concerts and in recording studios were made together: Romeo and Juliet, Vincent and Mireille, Tonio and <b>...</b>

Leopold Simoneau Donizetti Una furtiva lagrima belcanto classical Lindoro Rossini

Quid est homo sine femina? (Papaccione( Domenico Colaianni) E via Papaccione (Argilla ) Manuela Custer (mezzosoprano) Domenico Colaianni (Baritono) Direttore Arnold Bosman Orchestra Internazione D'Italia Festival di Martina Franca regia di Marco Gandini

Gaetano Donizetti Arnold Bosman musicarara 1980

Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>

Donizetti coloratura belcanto classical Lindoro Rossini

I find myself somehow falling for the charm of Donizetti's earliest works. Of course, they are strikingly different from his more mature works, "L'esilir" or "Don Pasquale" to name just a few, where Donizetti... well, is more Donizettian, where he operates with his own musical language; and it would be blind not to see the influence of his contemporaries, mostly - Rossini, on his works. Still, one has to admit that Donizetti, though frequently using the Rossinian idiom, manages to create something completely different. His earliest comedies, among them "L'ajo nell'imbarazzo" and the work in question, "Olivo e Pasquale", are sometimes surprisingly original, always enjoyable and, moreover, possess a certain undeniable freshness and naiveté that vindicates any quibbles of Donizetti being a copyist. The present upload has been on my mind for some time but only now am I finally able to upload the selection: a quartet from the First Act of "Olivo e Pasquale". "Olivo e Pasquale" is, in some ways, representative of Donizetti's earliest plots which are usually connected with the stories of merchants, richer common people, in short, the middle classes. The narrative is as follows: Olive (bass) and Pasquale (bass) are a pair of brothers/merchants of good financial standing but rather limited intelligence. The former has a daughter, Isabella, who is destined to be married Monsieur Le Bross, another merchant, though more civilized than his partners but, of course, she does not want <b>...</b>

Donizetti belcanto classical coloratura Lindoro Rossini

This video clip is one of Sumi Jo's DVD Title "Mad for Love/Amore di Pazzia - Coloratura Highlights." This Opera Gala Concert DVD consists of Sumi Jo's 4 coloratura mad scenes and 5 encores. Elvira (I Puritani), Lucia (di Lammermoor), Amina (La Sonnambula), Ophelie (Hamlet) are main arias. This clip is Lucia's mad scene. 2003, Seoul, South Korea. Conductor - Paolo Olmi Janacek Philharmonic Orchestra

Sumi Jo Donizetti Lucia Lammermoor Mad Scene Paolo Olmi Janacek smoothiw

This new double download is a special treat. Recently I found two versions of an air from Donizetti's "Rosmonda d'Inghilterra" "Ancor non guinse... Perché non ho del vento... Torna, ah! torna, o caro oggetto...", which was used as an alternative aria for Lucia opening cavatina. Now, to be totally honest, I just can't warm up to this aria as a whole: I just don't like the recitative and the cental aria. The cabaletta, on the other hand, is quite glorious. Still, I think it would be interesting for everybody to listen to this obscure aria. Now, the two versions that I'm talking about are: 1) Beverly Sills's rendition on her CD "Bellini & Donizetti Arias"; 2) a relatively early (circa 1961-1962) rendition by Joan Sutherland (this one can be found either on "Voice of the Century" or on "Tribute to Jenny Lind"). Now I'm aware that there seems to be a real battle going on between diva lovers, in particular, between Sills/Sutherland fans. I love both these wonderful singers, so I'm really not trying to find out who is the best opera singer. I just think it would be interesting to compare both renditions: the approach is quite different. Still, everyone is entitled to their own opinion, so all ideas are welcome :-) . Your comments would be most valued. Hope you enjoy! PS Due to the sheer size of the aria, I divided each rendition into two parts: the recitative and the aria (+ cabaletta).

Joan Sutherland Donizetti Rosmonda d'Inghilterra Coloratura Cabaletta Beverly Sills Lindoro Rossini

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Linda: Edita Gruberova Pierotto : Cornelia Kallisch Antonio : Armando Ariostini Maddalena : Nadine Asher il Marchese : Jacob Will Carlo : Deon Van Der Walt il Prefetto : Laszlo Polgár l'Intendente : Miroslav Christoff Conductor : Adam Fischer Director : Daniel Schmid Staging : Erich Wonder Orchestra and Chorus : Orchester der Oper Zürich Chor des Opernhauses Zürich Date : September 4, 1996 Theatre : Opernhaus, Zurich (CH)

Gaetano Donizetti Linda di Chamounix Edita Gruberova Don Gaetano Donizetti

"Il campanello di notte" (or "The Night Bell"), one of Donizetti's smaller, least known works, is a part of a series of one act operas that the composer produced on the peak of his popularity. The opera was composed for Naples, about nine months after the great success of "Lucia di Lammermoor" at il Teatro San Carlo, and presented at il Teatro Nuovo on the 6th of June, 1836. The farse, in three words, light, characterful, delightful, is proof of Donizetti's prowess in the comical genre. The narrative is simple: Don Annibale Pistacchio, a pharmacist from Naples, is celebrating his future marriage with Serafina, a beautiful girl, younger than her groom by quite a number of years. Annibale, however, is nervous about leaving his bride the next morning to travel to Rome, so he is in a hurry to consummate his marriage with the girl. He is confronted by Enrico, cousin and Serafina's former lover in a series of ridiculous night calls (which Annibale is forced to answer by law) that keep Annibale from even entering the bridal chambers and, finally, leaving Serafina to Enrico, the man she truly loves. All this is presented in some of Donizetti's most humorous numbers, one of which is presented here. The piece is actually Annibale's joyous cavatina, one of my favorites among all of Donizetti's buffo pieces, as he celebrates his future happiness with Serafina. The aria is divided into two parts: a parlando cantabile, set to an ABA structure, as the bass praises the beauty and the <b>...</b>

Donizetti belcanto coloratura classical Lindoro Rossini

"Imelda", one of Donizetti's early works, is a strangely dark and innovative work, lacking an overture or a concertato in the First Act finale and using an arioso instead of an aria finale at the very end. Even Imelda's rather traditional cavatina, as she recounts the torment of her impossible love to an enemy of her family, makes clear several things: in particular, Donizetti seems to have been unusually writing for strong, dark voices, hence the melodies tend to be simpler than one might expect from the composer of "Lucia" and "Lucrezia Borgia" but the emphasis on the text actually benefits from this. The prolonged cabaletta with its' clear rhythms and dramatic intensity is especially rewarding. Nicole Cabell makes quiet a lot of the dramatic possibilities and only highlights the text's luminous powers. Enjoy :)!

Donizetti Imelda coloratura belcanto classical Lindoro Rossini

www.facebook.com Anna Bolena - Katia Ricciarelli Enrico - Evgeny Nesterenko Giovanna - Stefania Toczyska Percy - Francisco Araiza Rochefort - Riccardo Lombardi Smeton - Elena Zilio Hervey - Jorge Pita Conductor - Giuseppe Patane Orchestra - Wiener Symphoniker Chorus - Bregenz Festival Chorus

Anna Bolena Gaetano Donizetti 1986 milqar

This is my first upload, so I hope everyone will like it. This is one my favorite Sutherland recordings: 1) because this was made a year or two before her 1959 Lucia, so the voice is even fresher and more gentle here; 2) I love Donizetti, and this aria, though conventional and even a bit Rossinian, is still delightful. Hope you like this recording (comments required)!

Joan Sutherland joansutherland opera coloratura soprano Donizetti Emilia Liverpool Lindoro Rossini

Gaetano Donizzetti (1797-1848) Poliuto: Overture - "O Nume pietoso" (1840) Orchestra e Coro del Teatro alla Scala di Milano/Antonino Votto Poliuto is a tragedia lirica, or tragic opera, by Gaetano Donizetti. Salvadore Cammarano wrote the Italian libretto after Pierre Corneille's play Polyeucte (1641-42). It was composed in 1838 and first performed on 30 November 1848 at the Teatro San Carlo, Naples. However, a revised version of the work with a French text had been produced earlier at the Paris Opéra under the title Les Martyrs on 10 April 1840. By January 1838 Donizetti was in negotiations with the Paris Opéra to compose two new works. While in Venice for the premiere of Maria de Rudenz he had met Adolphe Nourrit, who for more than a decade had been the principal tenor in Paris. However, Nourrits popularity was now in decline and he was in danger of being supplanted in the public's affections by a rising star Gilbert Louis Duprez. Nourrit and Donizetti were in complete agreement that a Grand Opera in the style of Halevy's La Juive would exactly suit the tastes of a French audience and provide Nourrit with the ideal vehicle to restore his career. However, Donizetti's next opera was scheduled to be premiered in Naples, the capital of the Kingdom of the Two Sicilies, whose King Ferdinand II was a devout Catholic who refused to allow any representation on the stage of scenes of a religious nature. At the last minute, the King forbade the production. The management of the <b>...</b>

gaetano donizetti poliuto les martyrs maria callas la scala Epogdous

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Noe - Mirco Palazzi Jafet - Simon Bailey Sem - Mark Wilde Cam - Dean Robinson Tesbite - Irina Lungu Asfene - Ivana Dimitrijevic Abra - Anne Marie Gibbons Cadmo - Colin Lee Sela - Majella Cullagh Ada - Manuela Custer Artoo - Roland Wood London Philharmonic Orchestra Geoffrey Mitchell Choir Conductor - Giuliano Carella

Gaetano Donizetti Il Diluvio Universale Don Gaetano Donizetti

vinyl Gaetano Donizetti Don Pasquale Pt11 Scipio Colombo Lina Aymaro Melchiore Luise Juan Oncina Argeo Quadri Pt's 10,11,12,13,14 Act 3 Gaetano Donizetti Don Pasquale Part 10 Act3 Don Pasquale--Melchiore Luise Doctor Malatesta--Scipio Colombo Ernesto--Juan Oncina Norina--Lina Aymaro A Notary--Josef Schmiedinger Vienna State Opera/. an operbathosa video Don Pasquale, opera: Act 3. Scene 1. I diamanti, presto, presto Vediamo: alla modista cento scudi Signorina, in tanta fretta, dove va È finita, Don Pasquale Via, caro sposino Qualche nota di cuffie Che interminabile andirivieni! Siamo intesi... Sta bene Cheti cheti immantinente Aspetta, aspetta, cara sposina Don Pasquale, opera: Act 3. Scene 2. Com'è gentil - la notte a mezzo april! Tornami a dir che m'ami Eccoli: attenti ben... Eccomi... A voi accorda Don Pasquale Bravo, bravo, Don Pasquale! Don Pasquale is an opera buffa, or comic opera, in three acts by Gaetano Donizetti. The librettist Giovanni Ruffini wrote the Italian libretto after Angelo Anelli's libretto for Stefano Pavesi's Ser Marcantonio (1810). At the time of its composition, Donizetti had just been appointed music director and composer for the imperial court of Emperor Ferdinand I of Austria, and Don Pasquale was the 64th of an eventual 66 operas he composed. The opera, in the tradition of opera buffa, harks back to the stock characters of the commedia dell'arte. Pasquale is recognizable as the blustery Pantalone, Ernesto as the lovesick Pierrot, Malatesta as <b>...</b>

operbathosa

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Adina - Ekaterina Siurina Castronovo Nemorino - Peter Auty Dulcamara - Alfredo Daza Belcore - Luciano di Pasquale Orchestra - London Philharmonic Chorus - The Glyndebourne Conductor - Maurizio Benini

L'elisir D'amore Gaetano Donizetti Don Gaetano Donizetti

The finale proper begins with Gianetta's entrance with a letter from Belcore's commander (talk about dramatical messenger; plus, the music is brilliantly "runny" in the strings). Belcore and his men are to leave the very next morning. But that doesn't really stop Adina who (and that's the second part of the all-important-event) announces that she will marry Belcore immediately which causes Nemorino great distress (plus, the wine has gotten out of his system a bit). The next section is the iconic "suspension-over-time": Nemorino's gentle, sighing, elegant line is contrasted with Belcore's and Adina's laughing, mocking short phrases (the soprano only joins the tenor's line for her two last couplets as she laments the loss of all possible hope of marrying Nemorino). Finally, time returns as all except Nemorino (and, secretly, Adina) rejoice at the news of the upcoming news; Nemorino is pushed aside with only his cries of "doctor! doctor!" audible. And that's the Act One Finale :)! Peter Dvorsky, Lucia Popp, Bernd Weikl are joined by the Gianetta of Judith Hobarth. Hope you enjoyed it :)! The next piece, Adina's big aria is coming soon.

Donizetti belcanto opera coloratura classical Lindoro Rossini

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Adina - Anna Netrebko Nemorino - Rolando Villazon Dulcamara - Ildebrando d' Arcangelo Belcore - Leo Nucci Giannetta - Inna Los Conductor - Alfred Eschwe Orchestra - Wiener Staatsoper Chorus - Wiener Staatsoper

L'elisir D'amore Gaetano Donizetti Rolando Villazon Anna Netrebko Rolando Villazón Don Gaetano Donizetti

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Anna Bolena : Anna Netrebko Giovanna Seymour : Ekaterina Gubanova Enrico VIII : Ildar Abdrazakov Lord Riccardo Percy : Stephen Costello Smeton : Tamara Mumford Hervey : Eduardo Valdes Lord Rochefort ( Anna's brother ) : Keith Miller Orchestra : MET Chorus : MET Conductor : Marco Armiliato

Anna Bolena Gaetano Donizetti Anna Netrebko Don Gaetano Donizetti

Oggi, invece di presentare grandi glorie del secolo scorso, propongo all'ascolto di tutti coloro che amano il bel canto, una giovane mezzosoprano emergente: Paola Cacciatori. Paola ha riportato il secondo premio assoluto insieme con il premio di miglior interprete femminile dedicato alla memoria del grande soprano Giusy Devinu, al prestigioso concorso lirico internazionale Città di Bologna. Ha ottenuto il primo premio in occasione del Canto-Lirico-Festival di Amandola (AP) dedicato a finalisti di concorsi internazionali. Ha cantato come solista nella Petite Messe Solennelle di G. Rossini, a Roma. E stata Carmen nella Tragédie de Carmen di Peter Brook nei giardini dellAccademia Filarmonica Romana e al Teatro Persiani di Recanati. E stata la Zweite Dame nel Flauto Magico di WA Mozart a Roma allAuditorium di Via della Conciliazione. Si è esibita e tuttora si esibisce in numerosi concerti e recital operistici in arie e romanze di autori quali: Gioacchino Rossini, Giuseppe Verdi, Gaetano Donizetti, Georges Bizet, Camille Saint Saëns WA Mozart e altri. La romanza "O mio Fernando" è stata registrata il 19 dicembre 2008 durante un concerto al Teatro Alba Radians di Albano (Roma) Italy, dove Paola Cacciatori ha cantato varie romanze da Opere.

Fabio Ludovisi Kit Robert We

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Lucia - Katia Ricciarelli Edgardo - Jose Carreras Enrico - Leo Nucci Raimondo - John-Paul Bogart Arturo - John Dickie Alisa - Waltraud Winsauer Normanno - Ermanno Lorenzi Conductor - Lamberto Gardelli Orchestra - Wiener Symphoniker Chorus - CHORUS

Gaetano Donizetti Lucia di Lammermoor Don Gaetano Donizetti

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Lucia: Natalie Dessay, soprano Edgardo: Joseph Calleja, tenor Enrico: Ludovic Tezier, baritone Raimondo: Kwangchul Youn, bass Normanno: Philip Webb, tenor Alisa: Theodora Hanslowe, mezzo-soprano Arturo: Matthew Plenk, tenor Conductor: Patrick Summers From MET opera 19 маrch 2011 Commentator : Renee Fleming

Lucia Di Lammermoor Gaetano Donizetti Natalie Dessay Joseph Calleja Don Gaetano Donizetti

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Anna Bolena : Anna Netrebko Giovanna Seymour : Elina Garanca Enrico VIII : Ildebrando D'Arcangelo Lord Riccardo Percy : Francesco Meli Smeton : Elisabeth Kulman Hervey : Peter Jelosits Lord Rochefort : Dan Paul Dumitrescu Vienna State Opera Chorus and Orchestra Conductor : Evelino Pido

Anna Bolena Gaetano Donizetti Anna Netrebko Elīna Garanča Don Gaetano Donizetti

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Lucia - Anna Netrebko Edgardo - Piotr Beczala Enrico - Mariusz Kwiecien Raimondo - Ildar Abdrazakov Arturo - Colin Lee Alisa - Michaela Martens Normanno - Michael Myers Conductor - Marco Armiliato Orchestra - MET Chorus - MET

Lucia di Lammermoor Gaetano Donizetti 2009 Don

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Don Pasquale - Simone Alaimo Norina - Patrizia Ciofi Malatesta - Marzio Giossi Ernesto - Norman Shankle Un notaio - Romaric Braun Orchestra - Orchestre de la Suisse Romande Chorus - Grand Théâtre de Genève Conductor : Evelino Pido

Gaetano Donizetti Don Pasquale Simone Alaimo Patrizia Ciofi Evelino Pido Don Gaetano Donizetti

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Sophia Loren ... Leonora (as Sofia Lazzaro) Cast For more information look at www.imdb.com Franca Tamantini ... Ines Paolo Silveri ... Alfonso - Re di Castiglia Gino Sinimberghi ... Fernando Miriam Di Giove ... Ines (voice) Alfredo Colella ... Baldassare Giorgio Costantini ... Don Gasparo Palmira Vitali Marini ... Leonora (voice) Piero Sardelli ... Fernando (voice) Vittoria Donato ... Dancer

Gaetano Donizetti Sophia Loren La Favorite Don Gaetano Donizetti

"Rosmonda d'Inghilterra" was first performed in Florence in 1834 and was also the first time Donizetti had an opportunity to write for the soprano Fanny Tacchinardi-Persiani. The story is actually quite wonderful: Enrico (Henry II of England) has returned from the wars to the comforts of his mistress Rosmonda Clifford who knows him only by his name. Her father informs her of her lover's true identity. Rosmonda is horrified, but the King promises to make her Queen. But she is killed right before the end by the King's jealous wife. The opera shows the confident mastery of form and there is scarcely more than a single item in which he seems not to be writing with genuine creativity, but the work, coming between "Lucrezia Borgia" and "Maria Stuarda", isn't really on the same level as either of these. BUT, as in many works of belcanto, there is always something rewarding to find: for me, that would have to be the duet between the lovers, just before the Finale. The present except starts just after Enrico has promised Rosmonda that she will be Queen. The poor woman is, of course, unsure of what to do, a state that she remains in during the whole piece, despite her royal lover's beckoning. The duet itself is a rather typical one by belcanto standards: after cutting the beginning of the scene (time issues), we are left with a simple progression of "andante - tempo di mezzo - allegro". Still, this gentle duet for the lovers is quite beautiful, in spite of the predictability. I <b>...</b>

Donizetti coloratura belcanto classical Lindoro Rossini

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Alfonso - Gabriel Bacquier Leonora - Fiorenza Cossotto Fernando - Luciano Pavarotti Baldassare - Nicolai Ghiaurov Don Gasparo - Piero De Palma Ines - Ileana Cotrubas Conductor - Richard Bonynge Orchestra - Teatro Comunale di Bologna Chorus - Teatro Comunale di Bologna

La Favorite Gaetano Donizetti Don Gaetano Donizetti

As I have already poured all of my enthusiasm on obtaining these two recordings in the previous posts, I've decided to return to my favorite type of description :). Ernesto's role in "Don Pasquale" is, in many ways, similar to Lindoro's in "L'italiana". They are both young men, both can be easily classified as "Pierrot-type" characters, both are very nice people but lacking in control over their own lives (unlike their respective lovers); both are given wonderfully beautiful music to sing. And both are a bit overshadowed by the basses and the heroines. Indeed, Ernesto has the smallest part of all four main soloists in "Don Pasquale". But the music more than makes up for what the part may lack in size. Ernesto's poignant Second Act aria would have to be one of the best pieces Donizetti ever wrote for the tenor voice. It's a typical succession of "cantabile - cabaletta" but an excellent one at that. That is especially true of the cantabile with its "crying" accompaniment and sentimental text. The section is actually quite short but it is infused with such strong emotions that one feels a very good balance between the size and depth of the aria. The cabaletta may seem a bit jolly at first, but the sadness is brilliantly hidden between the lines in the sudden bursts of solo instruments. Francisco Araiza's excellent portrayal present a very fine Ernesto indeed :)! Uploaded on a request (I'll post more, if anyone wants to hear something particular).

Donizetti coloratura belcanto tenor classical Lindoro Rossini

This delightful drinking song from Donizetti's all around winning "Il campanello" would become one of the composer's duettinos for solo voices and piano but it is the original place of the present piece where it sits best. In truth, it is not needed, as it serves as a purely belcanto devise to provide the baritone with an aria, even a short one, but Donizetti turns in a light piece of infinite charm. The structure is simple, developing from the main A theme (passed from Enrico to the chorus and featuring a particularly bouncy bass line) that also closes the piece through a slightly more sombre choral section and a short "duettino" where the chorus joins Enrico. A perfectly rustic brindisi, in short. Angelo Romero heads this piece with aplomb, Hope you'll enjoy :).

Donizetti romantic belcanto classical brindisi drinking song coloratura Lindoro Rossini

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Adina - Judith Blegen Nemorino - Luciano Pavarotti Dulcamara - Sesto Bruscantini Belcore - Brent Ellis Giannetta - Louise Wohlafka Conductor - Nicola Rescigno Orchestra - MET Chorus - MET

L'elisir d'amore Gaetano Donizetti Luciano Pavarotti Don Gaetano Donizetti

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Adina - Kathleen Battle Nemorino - Luciano Pavarotti Dulcamara - Enzo Dara Belcore - Juan (Joan) Pons Giannetta - Korliss Uecker Conductor - James Levine Orchestra - MET Chorus - MET

L'elisir D'amore Gaetano Donizetti Luciano Pavarotti Enzo Dara Don Gaetano Donizetti

Soloist of the Polish Nightingales and the choir performed Gaetano Donizetti's "Ave Maria" in the gala concert marking the choir's 50th anniversary. Director: W. Alexander Krolopp Warsaw King's Castle, 25 November 1994 Soprano soloist: Jan Monowid

Polish Nightingales Polskie Slowiki Donizetti Ave Maria Baroque boychoir treble soprano knabenchor petits chanteurs bran 4805

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Roberto Devereux - John Alexander Elisabetta - Beverly Sills Duca di Nottingham - Richard Fredricks Sara - Susanne Marsee Lord Cecil - John Lankston Sir Gualtiero Raleigh - David Rae Smith Conductor - Julius Rudel Orchestra - Filene Center Orchestra Chorus - Wolf Trap Company Chorus

Roberto Devereux Gaetano Donizetti Beverly Sills Don Gaetano Donizetti

Recently I acquired another two recordings of Donizetti's "Don Pasquale" and "L'elisir d'amore" into my collection. Both these pieces are well-known and don't need any kind of introduction. Saying that the works have received numerous recordings would be a very big understatement: according to one of the best sites for discographies, operadis-opera-discography.org.uk, there are, respectively, 62 and 77 recordings of the operas. I have several recordings of the operas with which I am pretty happy: Abbado's recording of "Don Pasquale" with Allen, Mei, Lopardo and Scimone's "L'elisir" with Carreras, Ricciarelli, Trimarchi and Nucci would have to be the highlights... At least, they were before I bought the two new ones. Heinz Wallberg was a German conductor. He became principal music director in Augsburg in 1954, and in Bremen in 1955, concluding in both posts in 1960. From 1964 to 1975, Wallberg was principal conductor of the Tonkünstler Orchestra, Vienna. He held the same post with the Munich Radio Orchestra from 1975 to 1982, and with the Essen Philharmonic from 1975 to 1991. From what I managed to read on him, most of his recordings are set firmly in Wagnerian operas and verisimo. And yet, in 1979 and in 1984, with the help of Bavaria Radio and BMG Music, he recorded Donizetti's comic masterpieces (in the order already given at the beginning)... One would imagine that the recordings are bound to be heavy, over-emphasized affairs... They aren't even close to these <b>...</b>

Donizetti coloratura belcanto classical Lindoro Rossini

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Leonora - Fiorenza Cossotto Fernando - Alfredo Kraus Alfonso - Sesto Bruscantini Baldassare - Ruggero Raimondi Don Gasparo - Augusto Pedroni Ines - Marisa Zotti Conductor - Oliviero De Fabritiis Orchestra - NHK Symphony Orchestra Chorus - NHK Italian Opera Chorus Live from Tokio

Gaetano Donizetti La Favorita Alfredo Kraus Fiorenza Cossotto Ruggero Raimondi Augusto Pedroni Marisa Zotti Oliviero de Fabritis La Favorite Don Gaetano Donizetti

Carlo Sabajno conducts the Overture to Don Pasquale by Gaetano Donizetti (1797-1848) Orchestra del Teatro alla Scala di Milano recorded in 1932

Carlo Sabajno Don Pasquale Gaetano Donizetti Overture opera Addiobelpassato

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com FRENCH VERSION Leonora - Daniela Barcellona Fernando - Giuseppe Filianoti Alfonso - Nikola Mijailovic Conductor - Riccardo Frizza

La Favorite Favorita Gaetano Donizetti Don

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Marie - June Anderson Tonio - Alfredo Kraus Sulplice - Michel Trempont La Maquise - Hélia T' Hézan Hortensius - Antoine Garcin Caporale - Jean-Noël Bèguelin La Duchesse - Jeanne Perez Conductor - Bruno Campanella Orchestra - Théâtre National de l'Opéra de Paris Chorus - Théâtre National de l'Opéra de Paris

Gaetano Donizetti La fille du regiment Alfredo Kraus June Anderson Don Gaetano Donizetti

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Lucie - Patrizia Ciofi Edgard - Roberto Alagna Henri - Ludovic Tézier Arthur - Marc Laho Gilbert - Yves Saelens Raimond - Nicolas Cavallier Conductor - Evelino Pido Orchestra - L'Opéra National de Lyon Chorus - L'Opéra National de Lyon

Gaetano Donizetti Lucia Di Lammermoor Don Gaetano Donizetti

www.facebook.com Marino Faliero - Giorgio Surian Elena - Rachele Stanisci Fernando - Ivan Magri Israele Bertucco - Luca Grassi Steno - Luca Dall'Amico Un gondolier e Strozzi - Domenico Menini Irene - Paola Spissu Vicenzo - Alexander Stefanosky Beltrame - Giuseppe Di Paola Pietro - Enrico Marchesini Conductor : Bruno Cinquegrani Orchestra e Coro del Bergamo Musica Festival Gaetano Donizetti

Marino Faliero Gaetano Donizetti 2008 milqar

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Belisario - Giuseppe Taddei Antonina - Leyla Gencer Irene - Mirna Pecile Alamiro - Umberto Grilli Eutropio - Bruno Sebastian Giustiniano - Nicola Zaccaria Eudora - Rina Pallini Eusebio - Giovanni Antonini Ottario - Augusto Veronese Centurion - Alberto Carusi Conductor - Gianandrea Gavazzeni Orchestra - Teatro La Fenice di Venezia Chorus - Teatro La Fenice di Venezia

Belisario Gaetano Donizetti 1969 Don

FAN PAGE OF GAETANO DONIZETTI - www.facebook.com Adina - Inva Mula ( -Tchako ) Nemorino - Ramon Vargas Dulcamara - Alessandro Corbelli Belcore - Giorgio Caoduro Giannetta - Ji-Young Yang Conductor - Bruno Campanella Orchestra - San Francisco Chorus - San Francisco

L'elisir D'amore Gaetano Donizetti Inva Mula Ramon Vargas Don Gaetano Donizetti