-
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
-
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 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
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OPERA PLANET Amadeus Mozart "Turkish Finale Seraglio" 4K ULTRA HD
https://www.youtube.com/c/OPERAPLANET
🔥🌎www.Opera-Planet.com🌍🔥
https://www.facebook.com/operaplanet
https://www.instagram.com/operaplanet
OPERA PLANET Creator : David Candela
Remastered 4K ULTRA HD Hi-Resolution Audio
"Amadeus Mozart"
"Die Entführung aus dem Serail"
"The Abduction from the Seraglio - Neville"
Marriner Academy of St. Martin
"In the Ambrosian Fields"
==============
ENGLISH LYRICS
==============
THE OPERA HOUSE
VIENNA NIGHT - 1780's
" Turkish Finale of Seraglio "
=====================
May he live forever !
Ever, ever, ever, ever !
Honour to his regal name !
Honour to his regal name !
May his noble brow emblazon ...
Glory, fortune, joy and fame !
Honour be to Pasha Selim ...
Honour to his regal name !
Honour to his regal name !
The curtains fall. Much applause.
The Em...
published: 19 May 2018
-
How Mozart Changed Opera Forever
Mozart's collaboration with Lorenzo Da Ponte was legendary. Here is how Mozart's two great operatic achievements, The Marriage of Figaro (La Nozze di Figaro) and Don Giovanni revolutionised the genre of opera.
🎁 FREE
Accelerate your ear training, sight reading, and musicianship skills with this free mini-course:
https://www.insidethescore.com/fast-track
Your journey towards musical mastery begins here... 🛤️
🎼 The Training Ground for Next-Level Musicianship - https://www.insidethescore.com/musicality
🎻 Where to Start with Classical Music? - https://www.insidethescore.com/14-pieces
🎹 Learn the Art and Craft of Composing, and Develop Your Unique Musical Voice - https://www.insidethescore.com/composer
💖 Support this Channel - https://www.patreon.com/insidethescore
💬 Join the Discord - ...
published: 21 Dec 2022
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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
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Lecture 17. Mozart and His Operas
Listening to Music (MUSI 112)
Mozart and the nature of his life and work make up the topic of this lecture. Professor Wright begins by discussing the basic ways in which classical music differs from Baroque music. He then launches an exploration of Mozart's life and compositional process, making use of Mozart's letters and compositional sketches to illustrate his points. The lecture culminates with a performance of select scenes from Mozart's opera Don Giovanni, featuring guest singer Professor Richard Lalli.
00:00 - Chapter 1. From Baroque to Classical Music -- An Introduction
04:25 - Chapter 2. Glimpses of Mozart's Life in Letters
13:25 - Chapter 3. Musical Balance and Genius in Mozart's Compositional Sketches
34:20 - Chapter 4. Mozart's Don Giovanni and Conclusion
Complete course mat...
published: 07 Dec 2012
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MOZART - IDOMENEO 1781 with double subs It-Eng
Stagione 2005/06 del Teatro alla Scala: con questo allestimento dell'Idomeneo, Daniel Harding debutta sul podio milanese, dopo 19 anni di direzione di Riccardo Muti.
Ridotto l'organico strumentale, Harding dà una sforbiciata anche alla partitura: oltre il balletto finale e un paio di arie, il taglio più vistoso riguarda l'Intermezzo dopo il primo atto, che permette una più agevole sutura col secondo.
Ma questa è un'opera che aveva subito numerose revisioni da parte del suo stesso autore, che eliminò o non musicò numerose parti del libretto (decisamente troppo lungo), effettuando tagli anche all'ultimo momento a vantaggio del ritmo drammatico e della plausibilità delle situazioni: dalla tragédie lyrique francese Varesco aveva ereditato la trama, Mozart però stava per scardinare le...
published: 06 Nov 2014
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Batti, batti, o bel Masetto from Mozart's Don Giovanni (Sung By Aaliyah Capili)
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(U can find all links to my social media accounts through this one link)
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Website: https://www.aaliyahcapili.com/
#opera #classicalsinger #classical #mozart #dongiovanni
published: 12 Mar 2024
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Mozart - Le Nozze di Figaro (Amadeus) - One of the greatest pieces of classical music 🎻
The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] i), K. 492, is a commedia per musica (opera buffa) in four acts composed in 1786 by Wolfgang Amadeus Mozart.
Here are some scenes from Amadeus (1984) directed by Milos Forman and starring F Murray Abraham & Tom Hulce
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#mozart #classicalmusic #beethoven #bach #chopin #vivaldi #debussy #richardwagner #robertschumann #vonbingen
Best 80s movies
Best musicals
Wolfgang Amadeus Mozart
Music history
Renaissance
Classical period
Symphony
Concerto
Opera
published: 12 Sep 2023
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
2:57:04
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
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
2:29
OPERA PLANET Amadeus Mozart "Turkish Finale Seraglio" 4K ULTRA HD
https://www.youtube.com/c/OPERAPLANET
🔥🌎www.Opera-Planet.com🌍🔥
https://www.facebook.com/operaplanet
https://www.instagram.com/operaplanet
OPERA PLANET Creator :...
https://www.youtube.com/c/OPERAPLANET
🔥🌎www.Opera-Planet.com🌍🔥
https://www.facebook.com/operaplanet
https://www.instagram.com/operaplanet
OPERA PLANET Creator : David Candela
Remastered 4K ULTRA HD Hi-Resolution Audio
"Amadeus Mozart"
"Die Entführung aus dem Serail"
"The Abduction from the Seraglio - Neville"
Marriner Academy of St. Martin
"In the Ambrosian Fields"
==============
ENGLISH LYRICS
==============
THE OPERA HOUSE
VIENNA NIGHT - 1780's
" Turkish Finale of Seraglio "
=====================
May he live forever !
Ever, ever, ever, ever !
Honour to his regal name !
Honour to his regal name !
May his noble brow emblazon ...
Glory, fortune, joy and fame !
Honour be to Pasha Selim ...
Honour to his regal name !
Honour to his regal name !
The curtains fall. Much applause.
The Emperor claps vigorously and
following his lead - so do the courtiers.
The curtains part.
Mozart applauds the singers
who applaud him back.
He skips up onto the stage amongst them.
The curtains fall again as they all bow.
In the auditorium,
the chandeliers descend,
filling it with light.
====www.Opera-Planet.com===
International Opera and Classical
Neurologic Linguistic Music Therapy
=============================
Copyright Disclaimer Under Section 107 of the Copyright Act of 1976 Allowance is made for "Fair Use" for purposes such as Comments, Criticism, Scholarship and Research. "Fair Use" is permitted by Copyright Statute that might otherwise be infringing, non-profit and educational tips the balance in favor of "Fair Use." I acknowledge that I do not own the copyright and no copyright infringement is intended and all credit goes to respective owners; Moreover this is the ethically moral and conscientious purpose of the group. For more information please visit:
https://en.m.wikipedia.org/wiki/Fair_use
=======================
https://wn.com/Opera_Planet_Amadeus_Mozart_Turkish_Finale_Seraglio_4K_Ultra_Hd
https://www.youtube.com/c/OPERAPLANET
🔥🌎www.Opera-Planet.com🌍🔥
https://www.facebook.com/operaplanet
https://www.instagram.com/operaplanet
OPERA PLANET Creator : David Candela
Remastered 4K ULTRA HD Hi-Resolution Audio
"Amadeus Mozart"
"Die Entführung aus dem Serail"
"The Abduction from the Seraglio - Neville"
Marriner Academy of St. Martin
"In the Ambrosian Fields"
==============
ENGLISH LYRICS
==============
THE OPERA HOUSE
VIENNA NIGHT - 1780's
" Turkish Finale of Seraglio "
=====================
May he live forever !
Ever, ever, ever, ever !
Honour to his regal name !
Honour to his regal name !
May his noble brow emblazon ...
Glory, fortune, joy and fame !
Honour be to Pasha Selim ...
Honour to his regal name !
Honour to his regal name !
The curtains fall. Much applause.
The Emperor claps vigorously and
following his lead - so do the courtiers.
The curtains part.
Mozart applauds the singers
who applaud him back.
He skips up onto the stage amongst them.
The curtains fall again as they all bow.
In the auditorium,
the chandeliers descend,
filling it with light.
====www.Opera-Planet.com===
International Opera and Classical
Neurologic Linguistic Music Therapy
=============================
Copyright Disclaimer Under Section 107 of the Copyright Act of 1976 Allowance is made for "Fair Use" for purposes such as Comments, Criticism, Scholarship and Research. "Fair Use" is permitted by Copyright Statute that might otherwise be infringing, non-profit and educational tips the balance in favor of "Fair Use." I acknowledge that I do not own the copyright and no copyright infringement is intended and all credit goes to respective owners; Moreover this is the ethically moral and conscientious purpose of the group. For more information please visit:
https://en.m.wikipedia.org/wiki/Fair_use
=======================
- published: 19 May 2018
- views: 990920
17:27
How Mozart Changed Opera Forever
Mozart's collaboration with Lorenzo Da Ponte was legendary. Here is how Mozart's two great operatic achievements, The Marriage of Figaro (La Nozze di Figaro) an...
Mozart's collaboration with Lorenzo Da Ponte was legendary. Here is how Mozart's two great operatic achievements, The Marriage of Figaro (La Nozze di Figaro) and Don Giovanni revolutionised the genre of opera.
🎁 FREE
Accelerate your ear training, sight reading, and musicianship skills with this free mini-course:
https://www.insidethescore.com/fast-track
Your journey towards musical mastery begins here... 🛤️
🎼 The Training Ground for Next-Level Musicianship - https://www.insidethescore.com/musicality
🎻 Where to Start with Classical Music? - https://www.insidethescore.com/14-pieces
🎹 Learn the Art and Craft of Composing, and Develop Your Unique Musical Voice - https://www.insidethescore.com/composer
💖 Support this Channel - https://www.patreon.com/insidethescore
💬 Join the Discord - https://discord.gg/HSZYJXD5Cj
0:00 - Introduction
1:34 - Mozart's Operatic Ambitions
2:53 - The Marriage of Figaro
9:08 - Don Giovanni
https://wn.com/How_Mozart_Changed_Opera_Forever
Mozart's collaboration with Lorenzo Da Ponte was legendary. Here is how Mozart's two great operatic achievements, The Marriage of Figaro (La Nozze di Figaro) and Don Giovanni revolutionised the genre of opera.
🎁 FREE
Accelerate your ear training, sight reading, and musicianship skills with this free mini-course:
https://www.insidethescore.com/fast-track
Your journey towards musical mastery begins here... 🛤️
🎼 The Training Ground for Next-Level Musicianship - https://www.insidethescore.com/musicality
🎻 Where to Start with Classical Music? - https://www.insidethescore.com/14-pieces
🎹 Learn the Art and Craft of Composing, and Develop Your Unique Musical Voice - https://www.insidethescore.com/composer
💖 Support this Channel - https://www.patreon.com/insidethescore
💬 Join the Discord - https://discord.gg/HSZYJXD5Cj
0:00 - Introduction
1:34 - Mozart's Operatic Ambitions
2:53 - The Marriage of Figaro
9:08 - Don Giovanni
- published: 21 Dec 2022
- views: 62914
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
51:38
Lecture 17. Mozart and His Operas
Listening to Music (MUSI 112)
Mozart and the nature of his life and work make up the topic of this lecture. Professor Wright begins by discussing the basic way...
Listening to Music (MUSI 112)
Mozart and the nature of his life and work make up the topic of this lecture. Professor Wright begins by discussing the basic ways in which classical music differs from Baroque music. He then launches an exploration of Mozart's life and compositional process, making use of Mozart's letters and compositional sketches to illustrate his points. The lecture culminates with a performance of select scenes from Mozart's opera Don Giovanni, featuring guest singer Professor Richard Lalli.
00:00 - Chapter 1. From Baroque to Classical Music -- An Introduction
04:25 - Chapter 2. Glimpses of Mozart's Life in Letters
13:25 - Chapter 3. Musical Balance and Genius in Mozart's Compositional Sketches
34:20 - Chapter 4. Mozart's Don Giovanni and Conclusion
Complete course materials are available at the Yale Online website: online.yale.edu
This course was recorded in Fall 2008.
https://wn.com/Lecture_17._Mozart_And_His_Operas
Listening to Music (MUSI 112)
Mozart and the nature of his life and work make up the topic of this lecture. Professor Wright begins by discussing the basic ways in which classical music differs from Baroque music. He then launches an exploration of Mozart's life and compositional process, making use of Mozart's letters and compositional sketches to illustrate his points. The lecture culminates with a performance of select scenes from Mozart's opera Don Giovanni, featuring guest singer Professor Richard Lalli.
00:00 - Chapter 1. From Baroque to Classical Music -- An Introduction
04:25 - Chapter 2. Glimpses of Mozart's Life in Letters
13:25 - Chapter 3. Musical Balance and Genius in Mozart's Compositional Sketches
34:20 - Chapter 4. Mozart's Don Giovanni and Conclusion
Complete course materials are available at the Yale Online website: online.yale.edu
This course was recorded in Fall 2008.
- published: 07 Dec 2012
- views: 90593
2:37:57
MOZART - IDOMENEO 1781 with double subs It-Eng
Stagione 2005/06 del Teatro alla Scala: con questo allestimento dell'Idomeneo, Daniel Harding debutta sul podio milanese, dopo 19 anni di direzione di Riccardo ...
Stagione 2005/06 del Teatro alla Scala: con questo allestimento dell'Idomeneo, Daniel Harding debutta sul podio milanese, dopo 19 anni di direzione di Riccardo Muti.
Ridotto l'organico strumentale, Harding dà una sforbiciata anche alla partitura: oltre il balletto finale e un paio di arie, il taglio più vistoso riguarda l'Intermezzo dopo il primo atto, che permette una più agevole sutura col secondo.
Ma questa è un'opera che aveva subito numerose revisioni da parte del suo stesso autore, che eliminò o non musicò numerose parti del libretto (decisamente troppo lungo), effettuando tagli anche all'ultimo momento a vantaggio del ritmo drammatico e della plausibilità delle situazioni: dalla tragédie lyrique francese Varesco aveva ereditato la trama, Mozart però stava per scardinare le convenzioni settecentesche: il rivolgimento romantico bussava alla porta. Harding non fa altro che eliminare o ridurre i residui antiquati: danze, recitativi secchi e arie di maniera. Come allora i tradizionalisti furono tacitati dal genio del giovane Mozart, così ai nostri giorni i nostalgici di Muti (e del suo Idomeneo del 1990), sono stati conquistati dal giovane Harding.
Personalmente ho trovato questa esecuzione magnifica (!) e l'ho arricchita di sottotitoli in inglese per farla conoscere ad un più vasto pubblico. Attualmente l'alternativa coi sottotitoli in inglese, qui in rete, mi pare sia solo l'esecuzione del 1982 al Metropolitan: interessante il confronto!
Un'ultima annotazione: questo allestimento fu ripreso dalla Scala nel 2009, ma con altri interpreti e con la direzione di Myung-Whun Chung, agli antipodi rispetto a quella di Harding (che io preferisco).
Bravissima Monica Bacelli nel ruolo di Idamante!
Alla chiamata alla ribalta (2:35:00) troverete il cast.
Season 2005/2006 (the world is going to celebrate the 250th anniversary of Wolfgang Amadeus Mozart's birth): with this performance of Idomeneo, Daniel Harding debuts on the Milanese rostrum, after 19 years of Riccardo Muti’s conducting.
Having reduced the size of the orchestra, Harding also cuts the score: in addition to the final ballet, and a few arias, the most impressive cut is the Intermezzo after the first act, which makes for smooth progression into the second, thus benefiting the rhythm of the dramaturgy.
But this was an opera that underwent a ruthless revising and cutting by his own author, right up until a last-minute surgery, in order to achieve the maximum dramatic pacing and verisimilitude: Mozart had immense difficulty in balancing the conflicting claims of naturalness, brevity and dramatic flow and an overlong libretto. Varesco had inherited the fable from the French Tragédie Lyrique, Mozart was going to loosen eighteenth-century stereotyped forms: romantic upheaval was knocking on the door…
Harding does nothing but delete or reduce antiquated residuals: some dances, secco recitatives, and mannerist arias. … As well as at that time traditionalists were silenced by young Mozart’s genius, at present habitués and Muti loyalists have been conquered by young Harding. (On the premiere, after two curtain calls, Harding joined the cast on stage for 12-minute ovation).
Personally, I’ve found this performance excellent (!) and so I’ve enriched it with English subtitles, to improve its disclosure. Currently the only alternative with English subtitles, in the Tube, maybe that at Metropolitan of 1982. Interesting the comparison!
One final note: this production was performed again at La Scala in 2009, but with another cast and under the baton of Myung-Whun Chung, completely at odds with Harding’s (that I prefer).
Excellent Monica Bacelli as Idamante!
The cast:
IDOMENEO, re di Creta/King of Crete STEVE DAVISLIM
IDAMANTE, suo figlio/his son MONICA BACELLI
ILIA, principessa troiana figlia di Priamo/Trojan princess, daughter of King Priam CAMILLA TILLING
ELETTRA, principessa figlia di Agamennone/princess, daughter of Agamennone EMMA BELL
ARBACE, confidente del re/the King’s confidant FRANCESCO MELI
Gran Sacerdote/High Priest of Neptune ROBIN LEGGATE
La Voce/The Voice ERNESTO PANARIELLO
Prima cretese/Fist Cretan woman SILVIA MAPELLI
Seconda cretese/Second Cretan woman MARZIA CASTELLINI
Primo troiano/First Trojan man MASSIMILIANO ITALIANI
Secondo troiano/Second Trojan man GIUSEPPE CATTANEO
Orcheatra e Coro del/Orchestra and Chorus of TEATRO ALLA SCALA
Direttore/Conductor DANIEL HARDING
M.o del coro/M. of the Chorus BRUNO CASONI
Regista/Stage director LUC BONDY
https://wn.com/Mozart_Idomeneo_1781_With_Double_Subs_It_Eng
Stagione 2005/06 del Teatro alla Scala: con questo allestimento dell'Idomeneo, Daniel Harding debutta sul podio milanese, dopo 19 anni di direzione di Riccardo Muti.
Ridotto l'organico strumentale, Harding dà una sforbiciata anche alla partitura: oltre il balletto finale e un paio di arie, il taglio più vistoso riguarda l'Intermezzo dopo il primo atto, che permette una più agevole sutura col secondo.
Ma questa è un'opera che aveva subito numerose revisioni da parte del suo stesso autore, che eliminò o non musicò numerose parti del libretto (decisamente troppo lungo), effettuando tagli anche all'ultimo momento a vantaggio del ritmo drammatico e della plausibilità delle situazioni: dalla tragédie lyrique francese Varesco aveva ereditato la trama, Mozart però stava per scardinare le convenzioni settecentesche: il rivolgimento romantico bussava alla porta. Harding non fa altro che eliminare o ridurre i residui antiquati: danze, recitativi secchi e arie di maniera. Come allora i tradizionalisti furono tacitati dal genio del giovane Mozart, così ai nostri giorni i nostalgici di Muti (e del suo Idomeneo del 1990), sono stati conquistati dal giovane Harding.
Personalmente ho trovato questa esecuzione magnifica (!) e l'ho arricchita di sottotitoli in inglese per farla conoscere ad un più vasto pubblico. Attualmente l'alternativa coi sottotitoli in inglese, qui in rete, mi pare sia solo l'esecuzione del 1982 al Metropolitan: interessante il confronto!
Un'ultima annotazione: questo allestimento fu ripreso dalla Scala nel 2009, ma con altri interpreti e con la direzione di Myung-Whun Chung, agli antipodi rispetto a quella di Harding (che io preferisco).
Bravissima Monica Bacelli nel ruolo di Idamante!
Alla chiamata alla ribalta (2:35:00) troverete il cast.
Season 2005/2006 (the world is going to celebrate the 250th anniversary of Wolfgang Amadeus Mozart's birth): with this performance of Idomeneo, Daniel Harding debuts on the Milanese rostrum, after 19 years of Riccardo Muti’s conducting.
Having reduced the size of the orchestra, Harding also cuts the score: in addition to the final ballet, and a few arias, the most impressive cut is the Intermezzo after the first act, which makes for smooth progression into the second, thus benefiting the rhythm of the dramaturgy.
But this was an opera that underwent a ruthless revising and cutting by his own author, right up until a last-minute surgery, in order to achieve the maximum dramatic pacing and verisimilitude: Mozart had immense difficulty in balancing the conflicting claims of naturalness, brevity and dramatic flow and an overlong libretto. Varesco had inherited the fable from the French Tragédie Lyrique, Mozart was going to loosen eighteenth-century stereotyped forms: romantic upheaval was knocking on the door…
Harding does nothing but delete or reduce antiquated residuals: some dances, secco recitatives, and mannerist arias. … As well as at that time traditionalists were silenced by young Mozart’s genius, at present habitués and Muti loyalists have been conquered by young Harding. (On the premiere, after two curtain calls, Harding joined the cast on stage for 12-minute ovation).
Personally, I’ve found this performance excellent (!) and so I’ve enriched it with English subtitles, to improve its disclosure. Currently the only alternative with English subtitles, in the Tube, maybe that at Metropolitan of 1982. Interesting the comparison!
One final note: this production was performed again at La Scala in 2009, but with another cast and under the baton of Myung-Whun Chung, completely at odds with Harding’s (that I prefer).
Excellent Monica Bacelli as Idamante!
The cast:
IDOMENEO, re di Creta/King of Crete STEVE DAVISLIM
IDAMANTE, suo figlio/his son MONICA BACELLI
ILIA, principessa troiana figlia di Priamo/Trojan princess, daughter of King Priam CAMILLA TILLING
ELETTRA, principessa figlia di Agamennone/princess, daughter of Agamennone EMMA BELL
ARBACE, confidente del re/the King’s confidant FRANCESCO MELI
Gran Sacerdote/High Priest of Neptune ROBIN LEGGATE
La Voce/The Voice ERNESTO PANARIELLO
Prima cretese/Fist Cretan woman SILVIA MAPELLI
Seconda cretese/Second Cretan woman MARZIA CASTELLINI
Primo troiano/First Trojan man MASSIMILIANO ITALIANI
Secondo troiano/Second Trojan man GIUSEPPE CATTANEO
Orcheatra e Coro del/Orchestra and Chorus of TEATRO ALLA SCALA
Direttore/Conductor DANIEL HARDING
M.o del coro/M. of the Chorus BRUNO CASONI
Regista/Stage director LUC BONDY
- published: 06 Nov 2014
- views: 402696
3:54
Batti, batti, o bel Masetto from Mozart's Don Giovanni (Sung By Aaliyah Capili)
Please Follow Me On My Socials
(U can find all links to my social media accounts through this one link)
https://linktr.ee/AaliyahCapili
Separate Links Of My So...
Please Follow Me On My Socials
(U can find all links to my social media accounts through this one link)
https://linktr.ee/AaliyahCapili
Separate Links Of My Social Media Accounts Down Below:
My Instagram - https://www.instagram.com/aaliyahcapili/
My Facebook Page- https://www.facebook.com/aaliyahlouise
My TikTok - https://www.tiktok.com/@aaliyah.capili
Website: https://www.aaliyahcapili.com/
#opera #classicalsinger #classical #mozart #dongiovanni
https://wn.com/Batti,_Batti,_O_Bel_Masetto_From_Mozart's_Don_Giovanni_(Sung_By_Aaliyah_Capili)
Please Follow Me On My Socials
(U can find all links to my social media accounts through this one link)
https://linktr.ee/AaliyahCapili
Separate Links Of My Social Media Accounts Down Below:
My Instagram - https://www.instagram.com/aaliyahcapili/
My Facebook Page- https://www.facebook.com/aaliyahlouise
My TikTok - https://www.tiktok.com/@aaliyah.capili
Website: https://www.aaliyahcapili.com/
#opera #classicalsinger #classical #mozart #dongiovanni
- published: 12 Mar 2024
- views: 335
4:03
Mozart - Le Nozze di Figaro (Amadeus) - One of the greatest pieces of classical music 🎻
The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] i), K. 492, is a commedia per musica (opera buffa) in four acts compose...
The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] i), K. 492, is a commedia per musica (opera buffa) in four acts composed in 1786 by Wolfgang Amadeus Mozart.
Here are some scenes from Amadeus (1984) directed by Milos Forman and starring F Murray Abraham & Tom Hulce
-----
#mozart #classicalmusic #beethoven #bach #chopin #vivaldi #debussy #richardwagner #robertschumann #vonbingen
Best 80s movies
Best musicals
Wolfgang Amadeus Mozart
Music history
Renaissance
Classical period
Symphony
Concerto
Opera
https://wn.com/Mozart_Le_Nozze_Di_Figaro_(Amadeus)_One_Of_The_Greatest_Pieces_Of_Classical_Music_🎻
The Marriage of Figaro (Italian: Le nozze di Figaro, pronounced [le ˈnɔttse di ˈfiːɡaro] i), K. 492, is a commedia per musica (opera buffa) in four acts composed in 1786 by Wolfgang Amadeus Mozart.
Here are some scenes from Amadeus (1984) directed by Milos Forman and starring F Murray Abraham & Tom Hulce
-----
#mozart #classicalmusic #beethoven #bach #chopin #vivaldi #debussy #richardwagner #robertschumann #vonbingen
Best 80s movies
Best musicals
Wolfgang Amadeus Mozart
Music history
Renaissance
Classical period
Symphony
Concerto
Opera
- published: 12 Sep 2023
- views: 360180