IL Viaggio a Reims

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IL Viaggio a Reims

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dc.contributor.other Rossini Gioacchino es
dc.contributor.other Katia Ricciarelli es
dc.contributor.other Lucia Valentini Terrani es
dc.contributor.other Lella Cuberli es
dc.contributor.other Cecilia Gasdia es
dc.contributor.other Francisco Araiza es
dc.contributor.other Edoardo Gimenez es
dc.contributor.other Leo Nucci, es
dc.contributor.other Ruggero Raimondi es
dc.contributor.other Samuel Ramey es
dc.contributor.other Enzo Dara es
dc.contributor.other Prague Philharmonic Chorus es
dc.contributor.other The Chamber Orchestra of Europe es
dc.contributor.other Claudio Abbado es
dc.date.accessioned 2013-02-14T15:35:03Z
dc.date.available 1985
dc.date.available 2013-02-14T15:35:03Z
dc.date.copyright 1985
dc.date.issued 2013-02-14
dc.identifier.uri http://hdl.handle.net/123456789/2760
dc.description.abstract The occasion for and the setting of this gala opera are the same: the festivities surrounding the 1825 coronation of the new French king, Charles X. The coronation itself takes place, for historical reasons, in the city of Reims. An assorted group of travelers representing various European nations gather in the hotel of the title to spend the night before traveling the final stage of their journey to witness the crowning. However, there is a shortage of horses occasioned by the extraordinary traffic to Reims and try as they might they cannot get there. So they decide to spend the money they would have spent at the coronation in two ways: in a collection for charitable causes, and in throwing themselves a nice banquet to honor the king in their own way. The plot is rather slender; while hotel staff and servants seek to make the voyagers comfortable and to locate some horses, various romantic attractions and jealousies arise among the multi-national travelers. These are sorted out peacefully (as are any old grudges held on account of national rivalries), and everyone gets his or her display number, for Rossini rounded up ten of the biggest operatic stars on the Paris stage at the time for his leading roles. Thus, the opera is an unending parade of vocal display pieces, each cunningly tailored to show its intended singer in the best light. Obviously this opera was intended for the occasion; it charmed its audience during its premiere run of several performances and then was withdrawn. Rossini himself began to dismember it, taking some of its numbers for his later comic opera, Le Comte Ory. In the revolutionary year of 1848 hands other than Rossini's (it seems) took parts of it for an adaptation set during the revolutions of that year. This quickly disappeared. The work became virtually unknown. In 1936, someone concocted a fake overture, alleged to have belonged to this opera, which gained favor among audiences. In fact, it is a pastiche from ballet music for the opera The Siege of Corinth. In reality, the opera has no orchestral introduction. In the 1970s, serious scholarship unearthed the parts of the score in various libraries, and the score was reassembled from them. It was revived to huge success in the 1980s and has received several productions. It seems destined to delight its audience whenever a large number of high-quality opera singers can be rounded up. © All Music Guide es
dc.description.tableofcontents CD 1-- Introduzione ; ‘‘Presto presto su coraggio’’ (Scena I), ‘‘Benché grazie al mio talento’’ (Scena II) (Don Prudenzio), ‘‘Aria’’ ‘‘Di vaghi raggi adorno’’ (Scena III) (Madama Cortese), ‘‘Partire io pur vorrei’’ (Scena IV), ‘‘Amabil contessina’’ (Scena V), ‘‘Che accade’’ (Scena VI)-- Recitativo e Aria della Contessa ; ‘‘Ahimè! sta in gran pericolo’’, (Aria) ‘‘Partir oh ciel! Desio’’ (Contessa di Folleville), (Aria cont.) ‘‘Che miro! Ah! Qual sorpresa’’ (Scena VII), ‘‘Eh! Sentí mastro Antonio’’ (Scena VIII)-- Sestetto ; ‘‘Si di matti una gran gabbia’’, ‘‘La mia quota a voi consegno’’ (Scena IX), ‘‘Donna ingrata’’ (Scena X), ‘‘Naturale è l’impazienza (Scena XI), (A sei) ‘‘Non pavento alcun periglio’’ (Conte di Libenskof, Don Alvaro, Don Profondo, Barone di Trombonok, Madama Cortese, Marchesa Melibea), (Aria) ‘‘Arpa Gentil’’ (Corinna), ‘‘Ziti non canta più’’ (A sei) ‘‘Simbol di pace e gloria’’, ‘‘Gelsomin non ritorna’’ (Scena XII)-- Scena e Aria di Milord ; ‘‘Ah! Perché la conobbi?’’ (Aria) ‘‘Ivan strappar dal core’’ (Lord Sidney), Milord una parola’’ (Scene XIII – XIV)-- CD 2-- Recitativo e Duetto di Corinna e del Cavaliere ; ‘‘Sola ritrovo alfin la bella dea’’ (Scena XV), Duetto ‘‘Nel suo divin sembiante’’ (Cavalier Belfiore, Corinna), Bravo il signor Ganimide! (Scena XVI)-- Aria di Don Profondo ; ‘‘Medaglie incomparabli’’, ‘‘Vedeste il cavaliere“ (Scene XVII – XIX)-- Gran pezzo concertato a 14 Voci ; ‘‘Ah! A tal colpo inaspettato’’ (Contessa di Folleville, Corinna, Marchesa Melibea, Delia, Modestina, Conte di Libenskof, Zefirino, Cavalier Belfiore, Barone di Trombonok, Don Alvaro, Lord Sidney, Don Profondo, Don prudenzio, Madama Cortese), ‘‘ Signor ecco una lettera (Scena XX), ‘‘Son qua cosa comanda?’’ (Scene XII – XXII)-- Scena e Duetto del Conte Melibea ; Di che son reo? (Scena XXIII) (Duetto) ‘‘D’ alma celeste oh Dio’’ (Conte di libenskof, Marchesa Melibea), ‘‘Madama qui mi manda’’ (XXIV)-- Finale ; Ritornello (Scena XXV), ‘‘Ora secondo gli usi’’ Innno Tedesco Or che regna’’ (Barone di Trombonok), ‘‘Altro da dir avrei’’ Polacca ‘‘Ai prodi guerrieri’’ (Marchesa Melibea), ‘‘Libenskof, tocca a voi’’ Inno Russo ‘‘Onore, gloria ed alto omaggio’’ (Conte di libenskof), ‘‘Don Alvaro, dal nord al mezzogiorno’’ Canzone Spagnola ‘‘Omaggio all’Augusto Duce’’ (Don Alvaro), ‘‘Milord, in tuon maggiore’’ Inno Inglese ‘‘Dell’aurea pianta’’ (Lord Sidney), ‘‘Contessa, Cavaliere, a voi la scelta lascio’’ Canzone francese ‘‘Madre del nuovo enrico’’ (Cavalier Belfiore, Contessa di Folleville), ‘‘Madama, Don Profondo, voi terminar dovete’’ Tirolese ‘‘Più fecondo’’ (Madama Cortese, Don Profondo), ‘‘Corinna, or tocca a voi’’, (Improvviso) ‘‘All’ombra amena’’ (Corinna), Tutti ‘‘Viva il diletto augusto Regnator’’-- es
dc.format.extent 1 CD Rom (67 min.,07 seg) ; 2 CD Rom (68 min.,35 seg) es
dc.format.medium 2 CD Stereo 4 3/4 plg es
dc.language.iso en_US es
dc.rights Uninorte F.m Estéreo es
dc.subject.lcc 19236703 es
dc.subject.lcsh Operas es
dc.title IL Viaggio a Reims es
dc.title.alternative IL Viaggio a Reims es
dc.language.rfc3066 eng es
dc.rights.holder Claudio Abbado, Klaus Geitel, Prof. Dr Philip Gossett, Janeth Johnson es
dc.identifier.classification 028941549822 es
dc.subject.cdu Ro.05 es


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