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9 thoughts on “ Aria Gluck - Guadagni

  1. 第一个在"Arias for Guadagni"的论坛里发言 豆瓣成员常用的标签(共31个) · · · · · · Classical quileetoresverswil.trymhustpolahywicmudssveskasraverge.infoinfo Aria JonathanCohen Hasse Handel Gluck quileetoresverswil.trymhustpolahywicmudssveskasraverge.infoinfo
  2. Oct 04,  · When the Habsburg imperial family and their retinue took their places for Gluck’s Orfeo ed Euridice in Vienna’s old Burgtheater on October 5, , they were doubtless expecting a gentle pastoral entertainment, crowned by the (in the midth century) obligatory happy ending. The occasion – Emperor Francis I’s name-day – and the opera’s billing as an azione teatrale (literally.
  3. / Christoph Willibald, Ritter von Gluck () () --Che farò senza Euridice? from Orfeo ed Euridice / Christoph Willibald, Ritter von Gluck () () --Pensa a serbarmi, o cara, insertion aria for Ezio / Gaetano Guadagni () ().
  4. Christian Bach’s Castrato Arias A showcase aria from that musical drama is heard towards the end of the young French Guadagni later premiered the role of Orfeo in Gluck’s famous.
  5. Feb 23,  · Gluck: Ezio, Wq. 15, Act 1 Scene No. 9, Aria, "Finché un zeffiro soave" (Fulvia) Artist Sonia Prina/Ann Hallenberg/Max Emanuel Cencic/Topi .
  6. THE FIRST QUESTION that arises with Gluck’s best-known masterpiece is, which edition?Archiv’s new release is rather curious. Discs 2 and 3 offer the spare “Vienna edition” of , written for the castrato Guadagni. But this live recording, made in April at the Théâtre de Poissy, derives from a concert tour conductor Laurence Equilbey and rising-star countertenor Franco Fagioli.
  7. May 30,  · Thus the first part of the aria, depicting the happiness of the man who bows patiently to the will of the gods, is a rather broad melody in 3/4 time, in the key of G, sostenuto; in the second part, Cupid tells Orpheus of the joys that await him, and to paint this Gluck converts the sostenuto into an andante (piano), changes from the former key.
  8. ‘If Guadagni was noted for the delicacy of his phrasing and the richness of character in his voice, Davies fully emulates him in these performances of arias by Handel, Hasse and Arne, with defining interpretations of extracts from Gluck’s Orfeo and an eloquently poised aria by Guadagni himself. Arcangelo lends exquisite instrumental support.
  9. He composed replacement arias for Gluck’s opera and also a replacement aria for a performance of Ezio (in a setting by Guglielmi or Bertoni). This latter aria is the last item on .

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