PDF Recitative and Aria: Frà i pensier più funesti, No. 22 from Lucio Silla, Act 3 (Full Score)

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Do you believe that this item violates a copyright? Delivery and Returns see our delivery rates and policies thinking of returning an item? See our Returns Policy. Visit our Help Pages. Audible Download Audio Books. Shopbop Designer Fashion Brands. Amazon Prime Music Stream millions of songs, ad-free. Nikolaus has cut a goodly portion of the libretto, and reduced the opera to ' 32", by omitting four arias from a total of 18 , shortening some other arias, and chopping off a lot of dead wood from the recitatives.

The key excitement of "Lucio Silla" is in the incandescent arias sung by the incomparable voices of the top female singers in the world. With Hager, we have the following cast of singers: It is a treat to have Mathis and Donath together in the same recording. They were all at the time top-class coloratura sopranos.

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Aufidio, "secondo tenore", is a marginal role. Mozart's music for Cecilio and Giunia is grandiose, supported by drums and trumpets. By contrast, the music for Celia is lighter, and meant to bring some relief to the heavy atmosphere of the story. As "primo tenore", Harnoncourt has kept Schreier, who now "owns" the role, but the sopranos are changed. The new cast is as follows: Here again, his smooth tone does not convince me that he personifies a ferocious dictator. He sounds too much like like a sweet, or ardent lover to carry conviction as a dictator.

We all store stereotypes in our unconscious memory, and go spontaneously by our intuitive casting when evaluating the fitness of an actor's performance, without reflecting further on other aspects of the situation which could modify our judgment. Everybody finds Schreier, technically, a highly competent Mozart tenor. He produces the notes, belts out the coloratura with superb elocution, his voice is clarity itself, and he adroitly follows the demanding tempi of Mozart's complex music.

Lucio Silla, K.135 (dramma per musica)

He's been repeatedly used in Mozart roles in top productions. However, to the ears of some men, he sounds bland and a touch unexciting. His voice seems to lack a bite or a coloration that would give it personality. His voice is not fearsome enough. It is not sure that Schreier's voice is felt the same way by women. His voice may then sound more authoritative to some female ears than to men's.

Some women seem to find him very credible as a dictator. It is exciting to have the same part of the "prima donna" Giunia sung alternatively in the two recordings by such supreme coloratura sopranos as Arleen Auger and Edita Gruberova. Listen for instance to the most challenging aria No.

One reviewer claims he can detect some aging in her tone. She still delivers the goods brilliantly. Her Mount Everest-like aria is "a grandiose Allegro of stunning virtuosity" New Grove , a classical "vengeance aria" with some of the most extreme coloratura ever written by Mozart. Very few other arias by Mozart can equal the difficulty posed to the singer, and none can surpass it. Think "Popoli Di Tessaglia - Io Non Chiedo, Eterni Dei" K reaching high "g6" twice, towards the end, the highest note ever written for the human voice, and composed in Munich in for Aloysia Weber, around 19 at the time.

Mozart recounts that the first time he met Aloysia Weber in Jan. However, for all my limitless admiration of Gruberova's artistry, I must confess that Auger's sensuous tone remains my irreplaceable love in Mozart's operas. Bartoli is at amazing ease in the most difficult examples of extreme virtuosity.

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At the start of her career, she already displays total control and projects a beautiful tone. The Australian Kenny is an accomplished Mozartian coloratura, with a superb, enchanting, bright timbre, and a beautiful actress to boot. She had already played and sung the magnificent role of Aspasia, the "prima donna" in the unforgettable film version of "Mitridate" by Jean-Pierre Ponnelle in March I agree with the view that Upshaw's voice of lyric soprano is too light for the role of Celia, who is after all the sister of the hardened, all-powerful dictator.

Celia is supposed to be able to influence the dictator by using her voice alone. It must have dignity and some grandeur. This voice cannot be too light. Upshaw's voice sounds too much like that of a "soubrette", the impish maid-servant who is a classical role of "opera buffa" and will be heard again many times in Mozart's future operas like, for instance, in "La Finta Giardiniera", in which Upshaw does sing the role of Serpetta.

Mozart never liked difficulty for its own sake of showing off the brilliant virtuosity of the composer. So it's not very surprising to read so often that quite a few of Mozart's arias are again described as "one of the most difficult arias Mozart ever wrote. In those days of monarchs and nobility, music composition and play, was essentially the major social entertainment of the educated classes.

Connoisseurs knew much more about music and singing, could play some instruments, even tried their hands at composing.

Wolfgang Amadeus Mozart - Lucio Silla, K (dramma per musica) - Classical Archives

They all could discuss the fine points of composition and vocal performances, even of libretto structure. By contrast, our modern opera goers usually don't know much about music, and even less about opera. They can mostly express their pleasure or lack of it: For Rauzzini, whose excellence Mozart admired, he composed his famous motet, "Exsultate, Jubilate" K , sacred in words, but operatic in music. It was premiered on Jan.

The run of the opera lasted from Dec. Harnoncourt eliminates the marginal role of Aufidio, the dictator's aging counselor, who really adds nothing substantial to the plot. With him goes also his only aria. They are all from Act II the durations shown below are those of the Hager recording: If her lips cannot talk, her eyes will betray her love. She urges him to flee and be safe, for her sake. Only death could save her from this torment. This cut is particularly regrettable, as this is one of Giunia's two most important arias, and it is "preceded by accompanied recitatives O del padre ombra diletta Se l'empio Silla, o padre; Recitativo: Eccomi, o cara Act 2 1.

Tel predissi o signor 2. Guerrier, che d'un acciaro 3.

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  • Ah no, mai non credea; Recitativo: Qual furor ti trasporta? Quest' improvviso tremito 5. Se il labbro timido 7. Di piegarsi capace; Recitativo accompagnato: Ah se il crudel periglio 9. Nel fortunato istante Signor, ai cenni tuoi; Recitativo: Che intesi eterni Dei? Chi sa, che non sia questa Ah se a morir mi chiama