Beniamino Gigli (pronounced[benjaˈmiːno ˈdʒiʎʎi]; March 20, 1890 – November 30, 1957) was an Italian operasinger. The most famous tenor of his generation, he was renowned internationally for the great beauty of his voice and the soundness of his vocal technique. Music critics sometimes took him to task, however, for what was perceived to be the over-emotionalism of his interpretations. Nevertheless, such was Gigli's talent, he is considered to be one of the very finest tenors in the recorded history of music.
Biography
Gigli was born in Recanati, in the Marche, the son of a shoemaker who loved opera. They did not, however, view music as a secure career. Beniamino's brother Lorenzo became a famous Italian painter.
In 1914, he won first prize in an international singing competition in Parma. His operatic debut came on October 15, 1914, when he played Enzo in Amilcare Ponchielli's La Gioconda in Rovigo, following which he was in great demand.
In July 1888 the Milanese music publisher Edoardo Sonzogno announced a competition open to all young Italian composers who had not yet had an opera performed on stage. They were invited to submit a one-act opera, which would be judged by a jury of five prominent Italian critics and composers. The best three would be staged in Rome at Sonzogno's expense.
Mascagni heard about the competition only two months before the closing date and asked his friend Giovanni Targioni-Tozzetti, a poet and professor of literature at the Italian Royal Naval Academy in Livorno, to provide a libretto. Targioni-Tozzetti chose Cavalleria rusticana, a popular short story (and play) by Giovanni Verga, as the basis for the opera. He and his colleague Guido Menasci set about composing the libretto, sending it to Mascagni in fragments, sometimes only a few verses at a time on the back of a postcard. The opera was finally submitted on the last day that entries would be accepted. In all, 73 operas were submitted, and on 5 March 1890, the judges selected the final three: Niccola Spinelli's Labilia, Vincenzo Ferroni's Rudello, and Mascagni's Cavalleria rusticana.
Initially, the Italian television network RAI expressed interest in recording the live opening night double-bill of Franco Zeffirelli's stage productions of Cavalleria rusticana and Pagliacci at the Teatro alla Scala. However, the director wanted to film the operas like movies instead of live stage productions. Over the course of two days, he filmed both operas on the stage of La Scala without an audience and in segments of ten minutes or less. He later added pick-up shots at a film studio in Milan. He also filmed some on location in Vizzini, Sicily for greater authenticity.
Alfio (born Alfio Bonanno, 24 October 1976) is an Australian-Italian tenor, songwriter, musician, and composer. He began singing at a very early age and started singing professionally at the age of 17, concentrating on recorded music and concerts so far. Alfio has performed in Australia, the United States, Europe, and Asia.
Early life
Alfio Bonanno was born in Sydney, to Italian-born parents and is the youngest of five children. Born into a musical family where every member sings or plays an instrument, Alfio has always had a passion for music. His father and his mother, both originally from Southern Italy, met and married in Sydney, but their Italian roots remained firmly planted throughout Alfio's childhood.
Alfio attended Patrician Brothers High School in Sydney where he received First Place grades with High Distinction in Music. While pursuing his music career, he also pursued his interest in design and graduated from the University of Western Sydney with a Bachelor of Arts Degree in Industrial Design.
Voi is a marketplace for the agricultural and meat products from the fertile Taita Hills as well as other surrounding areas. Voi's town centre consists of mostly general stores, shops, markets, kiosks and a few hotels. Most lodges that service tourists for the national park are located in the suburbs at the edge of town. The Voi Sisal Estates are located to the west of the town. A large squatter community exists in the Mwatate Sisal Estates, also to the west of town.
History
According to local history the name of town comes from a slave trader called Chief Kivoi who settled near the Voi River about 400 years ago. There after the village grew as a trading centre for the local Taita people with other Kenyan tribes and Arabs.
The town started to grow at the end of the 19th century when the Uganda Railway was constructed. People started to move in to work on the railway and the nearby sisal estates. However, township status with an area of about 16.27 square kilometres (6.28sqmi) was not granted until 1932. The town has long since outgrown the original grant.
(HD 1080p) Intermezzo from Cavalleria Rusticana, Pietro Mascagni
Opera composers sometimes wrote instrumental intermezzi as connecting pieces between acts of operas. In this sense an intermezzo is similar to the entr'acte (intermission). The most famous of this type of intermezzo is probably the intermezzo from Cavalleria Rusticana, by Pietro Mascagni..
Here is a video of landscape images of Tuscany, Italy set to the music of the intermezzo from this opera wriitten by Pietro Mascagni.
published: 15 Nov 2013
Pietro Mascagni: Cavalleria rusticana - Intermezzo
Filarmonica della Scala
Myung-Whun Chung
Teatro Antico, Taormina
G7 Opening Concert
published: 27 May 2017
CAVALLERIA RUSTICANA (Mascagni) | R. Alagna - B. Uria-Monzon - SH. Ko - Orange 2009 (Full - Complet)
Santuzza : Béatrice Uria-Monzon; Lola : Anne-Catherine Gillet ; Mamma Lucia : Stefania Toczyska ; Une femme : Bénédicte Clermont-Pezous ; Turiddu : Roberto Alagna ; Alfio : Seng-Hyoun Ko. Le 1er août 2009 en diptyque avec Pagliacci (Leoncavallo).
Orchestre National de France, direction : Georges Prêtre. Chœurs de l’Opéra Avignon et des pays de Vaucluse (Aurore Marchand) ; Maîtrise de l’Opéra Avignon (Florence Goyon-Pgembeerg) Chœurs de l’Opéra de Montpellier (Noelle Gény) ; du Capitole de Toulouse (Patrick-Marie Aubert) ; Musique de scène : Ensemble instrumental des Chorégies d’Orange. Mise en scène : Jean-Claude Auvray ; scénographie : Bernard Arnould ; costumes : Rosalie Varda ; Éclairages ; Laurent Castaingt.
____________________________________
CONNECT WITH ROBERTO ALAGNA
► Website: h...
Puccini e la sua Lucca
Website: http://www.puccinielasualucca.com/
Facebook: https://www.facebook.com/pages/Puccini-e-la-sua-Lucca-festival/610755895669671?fref=ts
Twitter: https://twitter.com/PuccinisuaLucca
Youtube: https://www.youtube.com/user/PUCCINIMUSICK
Contact us: [email protected]
PIETRO MASCAGNI
from CAVALLERIA RUSTICANA
intermezzo
LUCCA PHILHARMONIC ORCHESTRA
con.ANDREA COLOMBINI
LIVE RECORDING DEC 2014 - VIENNA MUSIKVEREIN GOLDEN HALL
published: 29 Feb 2016
Mascagni- Cavalleria Rusticana (Full Score)
Composed before March 1890.
Turiddu: Placido Domingo
Santuzza: Agnes Baltsa
Alfio: Juan Pons
Mamma Lucia: Vera Baniewicz
Lola: Susanne Mentzer
Giuseppe Sinopoli, Philharmonia Orchestra, Chorus of the Royal Opera House, 1990. I do not own this recording.
Mascagni is one of the few composers to achieve STUPENDOUS success with practically their very first work. It was this opera, the dramatic and moving portrait of Sicily, that would make the verismo movement known outside of esoteric Italian dramatic circles and throughout the world.
It was created for the second Sonzogno Concorso of 1888. This contest, created by music publisher (and small rival of the illustrious Ricordi publishing firm) Edoardo Sonzogno, would see various Italian composers submit one-act operas to a panel consisting of...
published: 14 Mar 2022
HAUSER - Intermezzo from Cavalleria Rusticana
https://www.instagram.com/hausercello
https://www.facebook.com/hauserofficial
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From the debut album CLASSIC https://HAUSER.lnk.to/Classic
HAUSER performing Intermezzo from Cavalleria Rusticana by Pietro Mascagni with London Symphony Orchestra
Filmed by Medvid production
Filmed at Brijuni National Park and Castle Belaj, Istria, Croatia
published: 13 Aug 2020
Cavalleria Rusticana - Easter Hymn (The Royal Opera)
Eva-Maria Westbroek and The Royal Opera Chorus sing the Easter Hymn from Mascagni's Cavelleria Rusticana. Find out more at http://www.roh.org.uk
Pietro Mascagni’s Cavalleria rusticana (Rustic Chivalry) and Ruggero Leoncavallo’s Pagliacci (The Players) are today Italian opera’s most famous double act, but they were written independently. Cavalleria rusticana came first, its hugely successful premiere in 1890 doubtless an influence on Leoncavallo. His Pagliacci in 1892 was another triumph. The two works, each undeniable masterpieces of the verismo tradition of realism, share dramatic concision, melodic richness and an obsession with violent jealousy.
Damiano Michieletto’s production was an Olivier-Award-winning hit when first presented in 2015. He sets both operas within the same village, ...
André Rieu performing Intermezzo Sinfonico live in Sydney.
For concert dates and tickets visit: http://www.andrerieu.com
http://www.facebook.com/andrerieu
http://www.twitter.com/andrerieu
https://plus.google.com/+andrerieu
Opera composers sometimes wrote instrumental intermezzi as connecting pieces between acts of operas. In this sense an intermezzo is similar to the entr'acte (in...
Opera composers sometimes wrote instrumental intermezzi as connecting pieces between acts of operas. In this sense an intermezzo is similar to the entr'acte (intermission). The most famous of this type of intermezzo is probably the intermezzo from Cavalleria Rusticana, by Pietro Mascagni..
Here is a video of landscape images of Tuscany, Italy set to the music of the intermezzo from this opera wriitten by Pietro Mascagni.
Opera composers sometimes wrote instrumental intermezzi as connecting pieces between acts of operas. In this sense an intermezzo is similar to the entr'acte (intermission). The most famous of this type of intermezzo is probably the intermezzo from Cavalleria Rusticana, by Pietro Mascagni..
Here is a video of landscape images of Tuscany, Italy set to the music of the intermezzo from this opera wriitten by Pietro Mascagni.
Santuzza : Béatrice Uria-Monzon; Lola : Anne-Catherine Gillet ; Mamma Lucia : Stefania Toczyska ; Une femme : Bénédicte Clermont-Pezous ; Turiddu : Roberto Alagna ; Alfio : Seng-Hyoun Ko. Le 1er août 2009 en diptyque avec Pagliacci (Leoncavallo).
Orchestre National de France, direction : Georges Prêtre. Chœurs de l’Opéra Avignon et des pays de Vaucluse (Aurore Marchand) ; Maîtrise de l’Opéra Avignon (Florence Goyon-Pgembeerg) Chœurs de l’Opéra de Montpellier (Noelle Gény) ; du Capitole de Toulouse (Patrick-Marie Aubert) ; Musique de scène : Ensemble instrumental des Chorégies d’Orange. Mise en scène : Jean-Claude Auvray ; scénographie : Bernard Arnould ; costumes : Rosalie Varda ; Éclairages ; Laurent Castaingt.
____________________________________
CONNECT WITH ROBERTO ALAGNA
► Website: https://www.robertoalagna.com
► Facebook: https://www.facebook.com/RobertoAlagna.tenor/
► Instagram: https://www.instagram.com/robertoalagna/
► Twitter: https://twitter.com/roberto_alagna
► Youtube: https://youtube.com/user/RobertoAlagnaChannel
Santuzza : Béatrice Uria-Monzon; Lola : Anne-Catherine Gillet ; Mamma Lucia : Stefania Toczyska ; Une femme : Bénédicte Clermont-Pezous ; Turiddu : Roberto Alagna ; Alfio : Seng-Hyoun Ko. Le 1er août 2009 en diptyque avec Pagliacci (Leoncavallo).
Orchestre National de France, direction : Georges Prêtre. Chœurs de l’Opéra Avignon et des pays de Vaucluse (Aurore Marchand) ; Maîtrise de l’Opéra Avignon (Florence Goyon-Pgembeerg) Chœurs de l’Opéra de Montpellier (Noelle Gény) ; du Capitole de Toulouse (Patrick-Marie Aubert) ; Musique de scène : Ensemble instrumental des Chorégies d’Orange. Mise en scène : Jean-Claude Auvray ; scénographie : Bernard Arnould ; costumes : Rosalie Varda ; Éclairages ; Laurent Castaingt.
____________________________________
CONNECT WITH ROBERTO ALAGNA
► Website: https://www.robertoalagna.com
► Facebook: https://www.facebook.com/RobertoAlagna.tenor/
► Instagram: https://www.instagram.com/robertoalagna/
► Twitter: https://twitter.com/roberto_alagna
► Youtube: https://youtube.com/user/RobertoAlagnaChannel
Puccini e la sua Lucca
Website: http://www.puccinielasualucca.com/
Facebook: https://www.facebook.com/pages/Puccini-e-la-sua-Lucca-festival/610755895669671?fref...
Puccini e la sua Lucca
Website: http://www.puccinielasualucca.com/
Facebook: https://www.facebook.com/pages/Puccini-e-la-sua-Lucca-festival/610755895669671?fref=ts
Twitter: https://twitter.com/PuccinisuaLucca
Youtube: https://www.youtube.com/user/PUCCINIMUSICK
Contact us: [email protected]
PIETRO MASCAGNI
from CAVALLERIA RUSTICANA
intermezzo
LUCCA PHILHARMONIC ORCHESTRA
con.ANDREA COLOMBINI
LIVE RECORDING DEC 2014 - VIENNA MUSIKVEREIN GOLDEN HALL
Puccini e la sua Lucca
Website: http://www.puccinielasualucca.com/
Facebook: https://www.facebook.com/pages/Puccini-e-la-sua-Lucca-festival/610755895669671?fref=ts
Twitter: https://twitter.com/PuccinisuaLucca
Youtube: https://www.youtube.com/user/PUCCINIMUSICK
Contact us: [email protected]
PIETRO MASCAGNI
from CAVALLERIA RUSTICANA
intermezzo
LUCCA PHILHARMONIC ORCHESTRA
con.ANDREA COLOMBINI
LIVE RECORDING DEC 2014 - VIENNA MUSIKVEREIN GOLDEN HALL
Composed before March 1890.
Turiddu: Placido Domingo
Santuzza: Agnes Baltsa
Alfio: Juan Pons
Mamma Lucia: Vera Baniewicz
Lola: Susanne Mentzer
Giuseppe Sinopo...
Composed before March 1890.
Turiddu: Placido Domingo
Santuzza: Agnes Baltsa
Alfio: Juan Pons
Mamma Lucia: Vera Baniewicz
Lola: Susanne Mentzer
Giuseppe Sinopoli, Philharmonia Orchestra, Chorus of the Royal Opera House, 1990. I do not own this recording.
Mascagni is one of the few composers to achieve STUPENDOUS success with practically their very first work. It was this opera, the dramatic and moving portrait of Sicily, that would make the verismo movement known outside of esoteric Italian dramatic circles and throughout the world.
It was created for the second Sonzogno Concorso of 1888. This contest, created by music publisher (and small rival of the illustrious Ricordi publishing firm) Edoardo Sonzogno, would see various Italian composers submit one-act operas to a panel consisting of critics and musicians. The top three submissions would be staged at the Teatro Costanzi in Rome, away from the interference of Ricordi.
By 1889, the deadline year for operatic submissions, it had become clear that Niccolo Spinelli's "Labilia" and Vincenzo Ferroni's "Rudello" were the two favorites of the panelists. These two short operas have swiftly been forgotten. Cavalleria was admired by the jury, but it was nevertheless also criticized by some members as being "supremely banal". After some deliberation, Cavalleria and the other two operas were presented in July 1890.
On 9 May, Labilia earned modest admiration from a small audience. Less than a week later, Cavalleria was presented by the same cast to an even smaller house. It was a complete artistic triumph, much to the bafflement of Mascagni himself. The intense public reaction made the Sonzogno jury reluctantly declare Mascagni the first-prize winner of the contest, while also making Ferroni's "Rudello" be received only with hostility and hisses.
As for the music itself of this opera, the orchestration is somewhat unsatisfying. You can tell that the contrabass player Mascagni viewed the string section as the heart and soul of it all because the woodwinds do virtually nothing but add melodic embellishments or soli to the score, neglecting it of the subtle richness that abounds in Verdi and Ponchielli's works. The stupendous emotional vigor of the ideas could be reinforced with more attention to sonority. In fact, it was for this reason that Ricordi rejected the notion of publishing the score. But Mascagni makes up for this fault with a strong grasp of harmony; he is something of a master when it comes to modulation. Just hear the chromatic mediant motions of 34:25, perfectly fitting to the drama. His harmonic flexibility is seldom found in his contemporaries, not even in Puccini, who treated modulation with a gentler hand.
What I find most unique about the score itself is its transfer of the "dramatic" Verismo to the musical. Cavalleria Rusticana, while having a gripping libretto, is not known for its characters or dialogue. It is the Sicilian environment, how Mascagni illustrates and punctuates it, that sets it apart from everything else. Parts of this opera take extraordinary care to immerse the audience in the setting: the prelude, the intermezzo, and the beginning chorus are only some examples. This is Mascagni's version of a playwright endlessly describing each and every detail of a scene in their play, much like the Italian playwrights did during the Verismo movement. For such a short opera, it is difficult to find another that contains this level of care and detail in its portrayals.
Do consider subscribing!
Composed before March 1890.
Turiddu: Placido Domingo
Santuzza: Agnes Baltsa
Alfio: Juan Pons
Mamma Lucia: Vera Baniewicz
Lola: Susanne Mentzer
Giuseppe Sinopoli, Philharmonia Orchestra, Chorus of the Royal Opera House, 1990. I do not own this recording.
Mascagni is one of the few composers to achieve STUPENDOUS success with practically their very first work. It was this opera, the dramatic and moving portrait of Sicily, that would make the verismo movement known outside of esoteric Italian dramatic circles and throughout the world.
It was created for the second Sonzogno Concorso of 1888. This contest, created by music publisher (and small rival of the illustrious Ricordi publishing firm) Edoardo Sonzogno, would see various Italian composers submit one-act operas to a panel consisting of critics and musicians. The top three submissions would be staged at the Teatro Costanzi in Rome, away from the interference of Ricordi.
By 1889, the deadline year for operatic submissions, it had become clear that Niccolo Spinelli's "Labilia" and Vincenzo Ferroni's "Rudello" were the two favorites of the panelists. These two short operas have swiftly been forgotten. Cavalleria was admired by the jury, but it was nevertheless also criticized by some members as being "supremely banal". After some deliberation, Cavalleria and the other two operas were presented in July 1890.
On 9 May, Labilia earned modest admiration from a small audience. Less than a week later, Cavalleria was presented by the same cast to an even smaller house. It was a complete artistic triumph, much to the bafflement of Mascagni himself. The intense public reaction made the Sonzogno jury reluctantly declare Mascagni the first-prize winner of the contest, while also making Ferroni's "Rudello" be received only with hostility and hisses.
As for the music itself of this opera, the orchestration is somewhat unsatisfying. You can tell that the contrabass player Mascagni viewed the string section as the heart and soul of it all because the woodwinds do virtually nothing but add melodic embellishments or soli to the score, neglecting it of the subtle richness that abounds in Verdi and Ponchielli's works. The stupendous emotional vigor of the ideas could be reinforced with more attention to sonority. In fact, it was for this reason that Ricordi rejected the notion of publishing the score. But Mascagni makes up for this fault with a strong grasp of harmony; he is something of a master when it comes to modulation. Just hear the chromatic mediant motions of 34:25, perfectly fitting to the drama. His harmonic flexibility is seldom found in his contemporaries, not even in Puccini, who treated modulation with a gentler hand.
What I find most unique about the score itself is its transfer of the "dramatic" Verismo to the musical. Cavalleria Rusticana, while having a gripping libretto, is not known for its characters or dialogue. It is the Sicilian environment, how Mascagni illustrates and punctuates it, that sets it apart from everything else. Parts of this opera take extraordinary care to immerse the audience in the setting: the prelude, the intermezzo, and the beginning chorus are only some examples. This is Mascagni's version of a playwright endlessly describing each and every detail of a scene in their play, much like the Italian playwrights did during the Verismo movement. For such a short opera, it is difficult to find another that contains this level of care and detail in its portrayals.
Do consider subscribing!
https://www.instagram.com/hausercello
https://www.facebook.com/hauserofficial
https://www.tiktok.com/@hauser
From the debut album CLASSIC https://HAUSER.lnk.to...
https://www.instagram.com/hausercello
https://www.facebook.com/hauserofficial
https://www.tiktok.com/@hauser
From the debut album CLASSIC https://HAUSER.lnk.to/Classic
HAUSER performing Intermezzo from Cavalleria Rusticana by Pietro Mascagni with London Symphony Orchestra
Filmed by Medvid production
Filmed at Brijuni National Park and Castle Belaj, Istria, Croatia
https://www.instagram.com/hausercello
https://www.facebook.com/hauserofficial
https://www.tiktok.com/@hauser
From the debut album CLASSIC https://HAUSER.lnk.to/Classic
HAUSER performing Intermezzo from Cavalleria Rusticana by Pietro Mascagni with London Symphony Orchestra
Filmed by Medvid production
Filmed at Brijuni National Park and Castle Belaj, Istria, Croatia
Eva-Maria Westbroek and The Royal Opera Chorus sing the Easter Hymn from Mascagni's Cavelleria Rusticana. Find out more at http://www.roh.org.uk
Pietro Mascagn...
Eva-Maria Westbroek and The Royal Opera Chorus sing the Easter Hymn from Mascagni's Cavelleria Rusticana. Find out more at http://www.roh.org.uk
Pietro Mascagni’s Cavalleria rusticana (Rustic Chivalry) and Ruggero Leoncavallo’s Pagliacci (The Players) are today Italian opera’s most famous double act, but they were written independently. Cavalleria rusticana came first, its hugely successful premiere in 1890 doubtless an influence on Leoncavallo. His Pagliacci in 1892 was another triumph. The two works, each undeniable masterpieces of the verismo tradition of realism, share dramatic concision, melodic richness and an obsession with violent jealousy.
Damiano Michieletto’s production was an Olivier-Award-winning hit when first presented in 2015. He sets both operas within the same village, allowing characters from one piece to reappear in the other and offering theatrical realism within visuals that are modern and yet timeless. The production was widely praised at its premiere, and summarized by the Financial Times as ‘a gripping evening all round’.
Eva-Maria Westbroek and The Royal Opera Chorus sing the Easter Hymn from Mascagni's Cavelleria Rusticana. Find out more at http://www.roh.org.uk
Pietro Mascagni’s Cavalleria rusticana (Rustic Chivalry) and Ruggero Leoncavallo’s Pagliacci (The Players) are today Italian opera’s most famous double act, but they were written independently. Cavalleria rusticana came first, its hugely successful premiere in 1890 doubtless an influence on Leoncavallo. His Pagliacci in 1892 was another triumph. The two works, each undeniable masterpieces of the verismo tradition of realism, share dramatic concision, melodic richness and an obsession with violent jealousy.
Damiano Michieletto’s production was an Olivier-Award-winning hit when first presented in 2015. He sets both operas within the same village, allowing characters from one piece to reappear in the other and offering theatrical realism within visuals that are modern and yet timeless. The production was widely praised at its premiere, and summarized by the Financial Times as ‘a gripping evening all round’.
André Rieu performing Intermezzo Sinfonico live in Sydney.
For concert dates and tickets visit: http://www.andrerieu.com
http://www.facebook.com/andrerieu
http...
André Rieu performing Intermezzo Sinfonico live in Sydney.
For concert dates and tickets visit: http://www.andrerieu.com
http://www.facebook.com/andrerieu
http://www.twitter.com/andrerieu
https://plus.google.com/+andrerieu
André Rieu performing Intermezzo Sinfonico live in Sydney.
For concert dates and tickets visit: http://www.andrerieu.com
http://www.facebook.com/andrerieu
http://www.twitter.com/andrerieu
https://plus.google.com/+andrerieu
Opera composers sometimes wrote instrumental intermezzi as connecting pieces between acts of operas. In this sense an intermezzo is similar to the entr'acte (intermission). The most famous of this type of intermezzo is probably the intermezzo from Cavalleria Rusticana, by Pietro Mascagni..
Here is a video of landscape images of Tuscany, Italy set to the music of the intermezzo from this opera wriitten by Pietro Mascagni.
Santuzza : Béatrice Uria-Monzon; Lola : Anne-Catherine Gillet ; Mamma Lucia : Stefania Toczyska ; Une femme : Bénédicte Clermont-Pezous ; Turiddu : Roberto Alagna ; Alfio : Seng-Hyoun Ko. Le 1er août 2009 en diptyque avec Pagliacci (Leoncavallo).
Orchestre National de France, direction : Georges Prêtre. Chœurs de l’Opéra Avignon et des pays de Vaucluse (Aurore Marchand) ; Maîtrise de l’Opéra Avignon (Florence Goyon-Pgembeerg) Chœurs de l’Opéra de Montpellier (Noelle Gény) ; du Capitole de Toulouse (Patrick-Marie Aubert) ; Musique de scène : Ensemble instrumental des Chorégies d’Orange. Mise en scène : Jean-Claude Auvray ; scénographie : Bernard Arnould ; costumes : Rosalie Varda ; Éclairages ; Laurent Castaingt.
____________________________________
CONNECT WITH ROBERTO ALAGNA
► Website: https://www.robertoalagna.com
► Facebook: https://www.facebook.com/RobertoAlagna.tenor/
► Instagram: https://www.instagram.com/robertoalagna/
► Twitter: https://twitter.com/roberto_alagna
► Youtube: https://youtube.com/user/RobertoAlagnaChannel
Puccini e la sua Lucca
Website: http://www.puccinielasualucca.com/
Facebook: https://www.facebook.com/pages/Puccini-e-la-sua-Lucca-festival/610755895669671?fref=ts
Twitter: https://twitter.com/PuccinisuaLucca
Youtube: https://www.youtube.com/user/PUCCINIMUSICK
Contact us: [email protected]
PIETRO MASCAGNI
from CAVALLERIA RUSTICANA
intermezzo
LUCCA PHILHARMONIC ORCHESTRA
con.ANDREA COLOMBINI
LIVE RECORDING DEC 2014 - VIENNA MUSIKVEREIN GOLDEN HALL
Composed before March 1890.
Turiddu: Placido Domingo
Santuzza: Agnes Baltsa
Alfio: Juan Pons
Mamma Lucia: Vera Baniewicz
Lola: Susanne Mentzer
Giuseppe Sinopoli, Philharmonia Orchestra, Chorus of the Royal Opera House, 1990. I do not own this recording.
Mascagni is one of the few composers to achieve STUPENDOUS success with practically their very first work. It was this opera, the dramatic and moving portrait of Sicily, that would make the verismo movement known outside of esoteric Italian dramatic circles and throughout the world.
It was created for the second Sonzogno Concorso of 1888. This contest, created by music publisher (and small rival of the illustrious Ricordi publishing firm) Edoardo Sonzogno, would see various Italian composers submit one-act operas to a panel consisting of critics and musicians. The top three submissions would be staged at the Teatro Costanzi in Rome, away from the interference of Ricordi.
By 1889, the deadline year for operatic submissions, it had become clear that Niccolo Spinelli's "Labilia" and Vincenzo Ferroni's "Rudello" were the two favorites of the panelists. These two short operas have swiftly been forgotten. Cavalleria was admired by the jury, but it was nevertheless also criticized by some members as being "supremely banal". After some deliberation, Cavalleria and the other two operas were presented in July 1890.
On 9 May, Labilia earned modest admiration from a small audience. Less than a week later, Cavalleria was presented by the same cast to an even smaller house. It was a complete artistic triumph, much to the bafflement of Mascagni himself. The intense public reaction made the Sonzogno jury reluctantly declare Mascagni the first-prize winner of the contest, while also making Ferroni's "Rudello" be received only with hostility and hisses.
As for the music itself of this opera, the orchestration is somewhat unsatisfying. You can tell that the contrabass player Mascagni viewed the string section as the heart and soul of it all because the woodwinds do virtually nothing but add melodic embellishments or soli to the score, neglecting it of the subtle richness that abounds in Verdi and Ponchielli's works. The stupendous emotional vigor of the ideas could be reinforced with more attention to sonority. In fact, it was for this reason that Ricordi rejected the notion of publishing the score. But Mascagni makes up for this fault with a strong grasp of harmony; he is something of a master when it comes to modulation. Just hear the chromatic mediant motions of 34:25, perfectly fitting to the drama. His harmonic flexibility is seldom found in his contemporaries, not even in Puccini, who treated modulation with a gentler hand.
What I find most unique about the score itself is its transfer of the "dramatic" Verismo to the musical. Cavalleria Rusticana, while having a gripping libretto, is not known for its characters or dialogue. It is the Sicilian environment, how Mascagni illustrates and punctuates it, that sets it apart from everything else. Parts of this opera take extraordinary care to immerse the audience in the setting: the prelude, the intermezzo, and the beginning chorus are only some examples. This is Mascagni's version of a playwright endlessly describing each and every detail of a scene in their play, much like the Italian playwrights did during the Verismo movement. For such a short opera, it is difficult to find another that contains this level of care and detail in its portrayals.
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From the debut album CLASSIC https://HAUSER.lnk.to/Classic
HAUSER performing Intermezzo from Cavalleria Rusticana by Pietro Mascagni with London Symphony Orchestra
Filmed by Medvid production
Filmed at Brijuni National Park and Castle Belaj, Istria, Croatia
Eva-Maria Westbroek and The Royal Opera Chorus sing the Easter Hymn from Mascagni's Cavelleria Rusticana. Find out more at http://www.roh.org.uk
Pietro Mascagni’s Cavalleria rusticana (Rustic Chivalry) and Ruggero Leoncavallo’s Pagliacci (The Players) are today Italian opera’s most famous double act, but they were written independently. Cavalleria rusticana came first, its hugely successful premiere in 1890 doubtless an influence on Leoncavallo. His Pagliacci in 1892 was another triumph. The two works, each undeniable masterpieces of the verismo tradition of realism, share dramatic concision, melodic richness and an obsession with violent jealousy.
Damiano Michieletto’s production was an Olivier-Award-winning hit when first presented in 2015. He sets both operas within the same village, allowing characters from one piece to reappear in the other and offering theatrical realism within visuals that are modern and yet timeless. The production was widely praised at its premiere, and summarized by the Financial Times as ‘a gripping evening all round’.
André Rieu performing Intermezzo Sinfonico live in Sydney.
For concert dates and tickets visit: http://www.andrerieu.com
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Beniamino Gigli (pronounced[benjaˈmiːno ˈdʒiʎʎi]; March 20, 1890 – November 30, 1957) was an Italian operasinger. The most famous tenor of his generation, he was renowned internationally for the great beauty of his voice and the soundness of his vocal technique. Music critics sometimes took him to task, however, for what was perceived to be the over-emotionalism of his interpretations. Nevertheless, such was Gigli's talent, he is considered to be one of the very finest tenors in the recorded history of music.
Biography
Gigli was born in Recanati, in the Marche, the son of a shoemaker who loved opera. They did not, however, view music as a secure career. Beniamino's brother Lorenzo became a famous Italian painter.
In 1914, he won first prize in an international singing competition in Parma. His operatic debut came on October 15, 1914, when he played Enzo in Amilcare Ponchielli's La Gioconda in Rovigo, following which he was in great demand.
Che bella cosa na jurnata 'e sole, n'aria serena doppo na tempesta! Pe' ll'aria fresca pare gia' na festa... Che bella cosa na jurnata 'e sole. Ma n'atu sole cchiu' bello, oi ne'. 'o sole mio sta 'nfronte a te! o sole, o sole mio sta 'nfronte a te! sta 'nfronte a te! Lcene 'e llastre d'a fenesta toia; 'na lavannara canta e se ne vanta e pe' tramente torce, spanne e canta lcene 'e llastre d'a fenesta toia. Ma n'atu sole cchiu' bello, oi ne'. 'o sole mio sta 'nfronte a te! o sole, o sole mio sta 'nfronte a te! sta 'nfronte a te! Quanno fa notte e 'o sole se ne scenne, me vene quase 'na malincunia; sotto 'a fenesta toia restarria quanno fa notte e 'o sole se ne scenne. Ma n'atu sole cchiu' bello, oi ne'. 'o sole mio sta 'nfronte a te! o sole, o sole mio sta 'nfronte a te! sta 'nfronte a te!