I Lombardi

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I Lombardi

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dc.contributor.other Giuseppe Verdi es
dc.contributor.other Richard Leech es
dc.contributor.other Samuel Ramey es
dc.contributor.other Patricia Racette es
dc.contributor.other June Anderson es
dc.contributor.other Ildebrando D'Arcangelo es
dc.contributor.other Anthony Dean Griffey es
dc.contributor.other Yanni Yannissis es
dc.contributor.other Luciano Pavarotti es
dc.contributor.other Jane Shaulis es
dc.contributor.other Raymond Gniwek es
dc.contributor.other Metropolitan Opera Orchestra & Chorus es
dc.contributor.other James Levine es
dc.coverage.spatial New York, United State es
dc.date.accessioned 2012-11-06T14:38:09Z
dc.date.available 1997
dc.date.available 2012-11-06T14:38:09Z
dc.date.copyright 1997
dc.date.issued 2012-11-06
dc.identifier.uri http://hdl.handle.net/123456789/2506
dc.description.abstract Giuseppe Verdi was to opera in the Italian tradition what Beethoven was to the symphony. When he arrived on the scene some had suggested that effective opera after Rossini was not possible. Verdi, however, took the form to new heights of drama and musical expression. Partisans see him as at least the equal of Wagner, even though his style and musical persona were of an entirely different cast. In the end, both Verdi's popular vein—as heard in the operas Rigoletto, Il trovatore, and La traviata—and his deeper side—found in Aida, Otello, and Falstaff—demonstrate his mastery and far-reaching development of Italian opera. Verdi showed talent by the age of seven and even played organ at a local church. Around this time he was given an old piano, which he quickly learned to play with proficiency. He moved to Busseto in 1823 and began study the following year with Ferdinando Provesi. By age 15 he had become an assistant church organist and had already started composing. Beginning in 1832, he studied privately with Vincenzo Lavigna in Milan, after the Conservatory there turned him away. He returned to Busseto and married Margherita Barezzi in 1836. Having achieved publication of some songs, he moved to Milan in 1839 and composed his first opera, Oberto. It was a success, though his next effort, Un giorno di regno, was an abject failure. Worse, Verdi's wife died during its composition. (Their two children had died in the previous two years.) Stunned and depressed, the composer struggled on to rebound with Nabucco (1842) and I lombardi (1843). Macbeth, Luisa Miller, and other operas came in the 1840s, most with great success. Around 1847, Verdi developed a relationship with soprano Giuseppina Strepponi and the two lived together for many years on Verdi's farm, Sant'Agata, before finally marrying in 1859. In the period 1851-1853, the composer wrote three of his most popular operas. Rigoletto (1851) and Il trovatore (1853) were instant successes, but La traviata (1853) was a disappointment at its premiere, though a year later, with minor revisions, it was warmly received. After an extended excursion to Paris in 1853, Verdi returned to Busseto and turned out Simon Boccanegra (1857) and Un ballo in maschera (1859), both embroiling him in politics, an activity he was already immersed in, since he served in the local parliament and later in national parliament as senator. In St. Petersburg, Verdi's La forza del destino premiered in 1862 and Don Carlos in Paris in 1867. Having relocated to Genoa, Verdi composed Aida in the years 1870-1871. Its Cairo premiere in 1871 was a success, but the composer then gave up opera, at least for a time. His String Quartet (1873) and Requiem (1874) showed his creative juices were still very much alive. His next opera, Otello, came finally in 1886, Verdi working slowly and getting sidetracked revising earlier operas. One more opera came from his pen, Falstaff, in 1893, which scored a stunning success. Critical opinion has it that his last three operas are his finest, that the elderly composer became bolder and more imaginative in his later years. In these later years, Verdi also worked to found a hospital and, in Milan, a home for retired musicians. In 1897, Giuseppina Verdi died and the composer thereafter lived at the Grand Hotel in Milan, finding companionship with retired soprano Teresa Stolz. A year later, his Quatro pezzi sacri premiered in Paris. This would be the composer's last work. On January 21, 1901, Verdi suffered a stroke and died six days later. © Robert Cummings, All Music Guide es
dc.description.tableofcontents CD1-- Act I La Vendetta ; Preludio ‘Oh nobile esempio!’ (Coro di cittadini), Qui nel luogo santo e pio (Pagano), T’assale un tremito! Padre che fia? (Giselda), Or s’ascolti il voler cittadino! (Un priore), A te nell’ora infausta (Coro di claustrali), Sciagurata! Hai tu creduto (Pagano), Tutta tremante ancor l’anima io sento...(Viclinda), Ave Maria (Giselda), Vieni! Già pose Arvino (Pirro), Orror! Mosstro d’averno orrible (Tutti), Parricida! (Arvino)-- Act Two L’uomo della caverna ; È dunque vero? (Ambasciatori), Oh madre mia che fa colei? (Oronte), La mia letizia infondere (Oronte), Come poteva un angelo (Oronte), E ancor silenzio! (Eremita), Sei tu l’uom della caverna? (Arvino), La bella straniera Coro di donne), Oh madre del cielo soccorri al mio pianto (Giselda), No! no! giusta causa non è d’Iddio (Giselda)-- CD2-- Act Three La Conversione ; Gerusalem!...Gerusalem!... (Pellegrini), Dove sola m’inoltro? (Giselda), Oh belle a questa misera tende lombarde (Giselda), Che vid’io mai? (Arvinio), Preludio, Qui posa il fianco (Giselda), Qual voluttà trascorrere sento (Oronte)-- Act IV Santo Sepolcro ; Componi o cara vergine (Coro di spiriti celesti), In cielo benedetto (Oronte), Qual prodigio!... (Giselda), O Signore del tetto natìo ci chiamasti (Crociati e pellegrini), Al Siloe! Al Siloe! (Giselda, Arvino,Eremita), Questa è mia tenda...(Arvino), Un breve istante (Pagano), Te lodiamo gran Dio di vittoria (Coro)-- es
dc.format.extent CD 1 (71:43 min) ; CD 2 (57:02 min) es
dc.format.medium 2 CD-Rom : Stereo ; 4 3/4 plg. es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 37949354 es
dc.subject.lcsh Operas es
dc.title I Lombardi es
dc.title.alternative I Lombardi Dramma lirico in quattro atti es
dc.title.alternative I Lombardi Ópera en Cuatro Actos es
dc.language.rfc3066 eng es
dc.rights.holder The Decca Record Company Limited es
dc.identifier.classification 028945528724 es
dc.subject.cdu Ve.13 es


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I Lombardi - Act I 'La vendetta'.wav 36:33 368.9Mb WAV audio wav
I Lombardi - Act II 'L'uomo della caverna'.wav 34:49 351.4Mb WAV audio wav
I Lombardi - Act III 'La Conversione'.wav 31:24 316.9Mb WAV audio wav
I Lombardi - Act IV 'II Santo Sepolcro'.wav 25:16 255.0Mb WAV audio wav

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