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  1. Mozart: Il Re Pastore
  2. HIGHWAY METEOROLOGY DOCUMENT PDF Original - Free E-Book Download
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Mozart: Il Re Pastore

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No returns accepted. Pay with PayPal and you're fully protected. Playing by strings and winds alike is exemplary, the atmosphere of concentration and assured grasp of the idiom apparent from the first bars of the Molto allegro Overtura, delivered with quicksilver rhythms that would make the piece an introduction as suitable to ballet as to opera. The courantes, passacaglias, and sarabandes of Baroque opera were not altogether forgotten in , after all, especially in Salzburg, where Heinrich Biber had virtually redefined the passacaglia a century earlier. The Classical Opera musicians execute their parts with passion and precision, wholly sidestepping the pedantry frequently encountered in performances of music of this vintage.

Page allows the specific atmosphere of Il re pastore to materialize on its own terms, guiding a performance that presents the opera without the editorial commentary of viewing the opera through lenses clouded by external influences. Both acts of Il re pastore subject the singers to progressions of arias as daunting as any written in the Eighteenth Century, and the greatest joy of this recording is the confidence with which the obstacles are overcome by this cast.

In Act One, the amorous entanglements among Aminta, the modest shepherd who is actually the rightful king of Sidon, his fellow peasant Elisa, the unfortunate Tamiri, and the aristocratic but lovesick Agenore are tied into a Gordian knot of misunderstandings and shifting ambitions. The Phoenician shepherdess Elisa is portrayed with vivacity and awe-inspiring technical polish by soprano Ailish Tynan. Unflinchingly taming the bravura beasts of his part, Ainsley is a phenomenally virile, visceral Alessandro.

Indeed, Hulett has never sounded better on disc. Tamiri, the daughter of the tyrannical ruler of Sidon deposed by Alessandro, is portrayed by soprano Anna Devin with disarming sincerity and a profound exploration of the competing emotions that make the character so fascinating. It is a fine piece, worthy of its occasional inclusion in concerts and recordings of Mozart arias, but, in truth, it is not markedly superior to its siblings in Il re pastore , the music in the serenata being of admirably high quality from start to finish.

The effect of the undeviating excellence achieved by the singers in this Il re pastore , bolstered by unusually well-informed conducting, cannot be overstated. In performances of music from the Eighteenth Century, authenticity is an elusive commodity. It is known, for instance, that Aminta in Il re pastore was first sung by a castrato, but how might he have sounded?

Did the composer write to order for the capabilities of the musicians at his disposal, or did his music expand their technical boundaries? For what could a performance such as this need to apologize unless it is for eclipsing all previous recordings of this appealing score?

Mozart ‐ Il rè pastore, K 208∶ Act I, Scene VIII No 7 Duetto “Vanne a regnar ben mio” Elisa, Aminta

Italy in the first half of the Nineteenth Century—when there was no unified Italy in the modern sense, that is—was a volatile menagerie of ever-changing cultures similar enough to foster a burgeoning sense of shared national identity and sufficiently dissimilar to perpetuate the divisiveness begotten by generations of political intrigues and constantly-shifting allegiances.

The seeds of the Risorgimento were sown, however, and the dissolution of the Papal States further redefined dominion over the Italian peninsula.

No standard-issue concoction of mistaken identities and fortuitous last-minute revelations, the drama of Adelina is a convolution of illicit love, an illegitimate child, and the effects of shame and social stigmas on individuals and families. Few things in opera are ever wholly as they seem, however. Logically, then, the impression that Adelina made in Venice almost certainly cannot have been negligible. Foremost among those problems is the recording itself. Occasionally, the editing of material from the three performances that yielded the recording makes transitions among tempi seem clumsier than they probably were in the theatre, but Rigon maintains a firm hand and instinctively supports the singers.

Her portrayal of Adelina is a testament to the solid technical foundation of her musical education and to her gifts as an introspective singing actress. Born in the French commune of Vittel, famous for its widely-distributed bottled water, Rabec voices his lines with dramatic directness and sturdy tone.

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Esporre il sangue mio! What this and other Wildbad productions and NAXOS recordings of them do so efficaciously is confirm that Rossini was not a solitary genius in an artistic desert. If Adelina is representative of his work, Pietro Generali was a fantastic craftsman whose dramatic instincts transcended the uncomplicated frivolity of many of his contemporaries. Though imperfect in execution, this stylish, thoroughly enjoyable Adelina is much more valuable than another inadequate, half-hearted Barbiere di Siviglia.

The notes are there, the rhythms, the correct accents, those outward appearances, but where is the inner significance that transforms notes, rhythms, and accents into music? Few Americans with televisions in their homes can have avoided the ubiquitous Law and Order franchise, in the opening sequence of which it was famously stated that citizens are protected by those who enforce laws and those who prosecute offenders, complementary instruments of justice whose experiences the series sought to recreate.

Music, too, is served by two groups of practitioners: those who make noise and those who communicate emotions in sound. These are their stories. When Alfred Deller on one side of the Atlantic and Russell Oberlin on the other dedicated their talents to sparing the works of Baroque composers the indignities of transposition and gender reassignments, they ushered in a new age of reassessing, rejuvenating, and respecting Baroque repertory. Not yet forty years old, he has already enjoyed a career longer than those of many of the most admired singers of recent years, but each assertion that he has reached his artistic peak is confounded by his next effort.

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