Macbeth

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Macbeth

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dc.contributor.other Giuseppe Verdi es
dc.contributor.other Piero Cappuccilli es
dc.contributor.other Nicolai Ghiaurov es
dc.contributor.other Shirley Verrett es
dc.contributor.other Stefania Malagú es
dc.contributor.other Placido Domingo es
dc.contributor.other Antonio Savastano es
dc.contributor.other Carlo Zardo es
dc.contributor.other Giovanni Foiani es
dc.contributor.other Alfredo Mariotti es
dc.contributor.other Sergio Fontana es
dc.contributor.other Alfredo Giacomotti es
dc.contributor.other Maria Fausta Gallamini es
dc.contributor.other Massimo Bortolotti es
dc.contributor.other Coro e Orchestra del Teatro alla Scala es
dc.contributor.other Claudio Abbado es
dc.contributor.other Francesco Maria Piave es
dc.date.accessioned 2012-11-06T14:58:41Z
dc.date.available 1976
dc.date.available 2012-11-06T14:58:41Z
dc.date.copyright 1996
dc.date.issued 2012-11-06
dc.identifier.uri http://hdl.handle.net/123456789/2510
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-- Preludio-- Act One ; Introduzione e Coro di streghe “Che faceste? dite su!”, Scena e Duetto “Giorno no vidi mai” “Due vaticini compiuti or sono” (Macbeth, Banco, Coro di streghe, Massaggeri), Coro di sstreghe-Stretta dell’introduzione “S’allontanarono!”, Scena e Cavatina “Nel dì della vittoria” “Vieni! T’affretta!...Or tutti sorgete” (Lady Macbeth, Servo), Scena e Marcia “Oh donna mia!” (Macbeth, Lady Macbeth), Gran Scena e Duetto “Sappia la sposa mia” “Fatal mia donna!” (Macbeth, Lady Macbeth), Scena e Sestetto-Finale I “Di destarlo per tempo il re m’impose” “Schiudi inferno la bocca” (Macduff, Banco, Macbeth, Lady Macbeth, Dama, Malcolm, Coro)-- Act Two ; Scena ed Aria “Perché mi sfuggi”, “La luce langue” (Lady Macbeth, Macbeth), Coro di sicari “Chi osò mandarvi a noi?”, Gran Scena “Studia il passo...Come dal ciel precipita” (Banco), Finale II “Salve o Re!”, “Si colmi il calice”, “Va’ spirto d’abisso!” (Coro, Macbeth, Lady Macbeth, Dama, Macduff, Sicario)-- CD2-- Act Three ; Coro d’introduzione-Incantesimo “Tre volte miagola” (Coro di streghe), Ballo (Allegro vivicissimo, Un poco ritenuto, Allegro, Andante, Allegro, Valzer, Allegro vivacissimo, Poco più mosso), Gran Scena della appaizioni “Finché appelli”, “Fuggi regal fantasima” (Macbeth, Coro di streghe, 3 Apparizioni), Coro di streghe e Ballabile “Ondine e Silfidi”, Scena e Duetto-Finale III “Ove son io?” “Ora di morte” (Macbeth, Araldo, Lady Macbeth)-- Act Four ; Coro di profughi scozzesi “Patria oppressa!”, Scena ed Aria “O figli o figli miei!...Ah la paterna mano” (Macduff), “Dove siam? Che bosco è quello?” (Malcolm, Macduff, Coro), Gran Scena del sonnambulismo “Vegliammo invan due notti”, “Una macchia è qui tuttora” (Medico, Danna, Lady Macbeth), Scene ed Aria “Perfidi! All’anglo contro me v’unite!”, “Pietà rispetto amore” (Macbeth), Scena e battaglia “Ella è mortal” (Coro, Macbeth, Dama, Macduff), Morte di Macbeth “Mal per me che m’affadai” (Macbeth), Inno di vittoria-Finale “Vittoria!” (Coro, Malcolm, Macduff)-- es
dc.format.extent CD 1 (79:53 min) ; CD 2 (74:00 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 36999850 es
dc.subject.lcsh Operas es
dc.title Macbeth es
dc.title.alternative Macbeth Opera in Four Acts es
dc.title.alternative Macbeth Ópera en Cuatro Actos es
dc.language.rfc3066 eng es
dc.rights.holder Deutsche Grammophon GmbH es
dc.identifier.classification 028944973228 es
dc.subject.cdu Ve.06 es


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Files Length Size Format View Description
Macbeth - Preludio.wav 3:18 33.38Mb WAV audio wav
Macbeth - Act One.wav 45:50 462.6Mb WAV audio wav
Macbeth - Act Two.wav 30:42 309.8Mb WAV audio wav
Macbeth - Act Three.wav 32:33 328.6Mb WAV audio wav
Macbeth - Act Four.wav 41:21 417.3Mb WAV audio wav

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