Didone Abbandonata

DSpace Repository

Didone Abbandonata

Show simple item record

dc.contributor.other Niccolò Jommelli es
dc.contributor.other Dorothea Röschmann es
dc.contributor.other Martina Borst es
dc.contributor.other William Kendall es
dc.contributor.other Mechthild Bach es
dc.contributor.other Daniel Taylor es
dc.contributor.other Arno Raunig es
dc.contributor.other Stuttgarter Kammerorchester es
dc.contributor.other Ulrich Hübener es
dc.contributor.other Detlef Brashcke es
dc.contributor.other Görgy Bognar es
dc.contributor.other Frieder Bernius es
dc.contributor.other Pietro Metastasio es
dc.date.accessioned 2013-06-05T19:55:22Z
dc.date.available 1995
dc.date.available 2013-06-05T19:55:22Z
dc.date.copyright 1995
dc.date.issued 2013-06-05
dc.identifier.uri http://hdl.handle.net/123456789/3348
dc.description.abstract Niccolò Jommelli was an innovative opera seria composer with an extraordinary dramatic flair. He altered the contemporary opera seria, involving the orchestra in an ever greater dramatic role, and coming up with innovative ways of arriving at this result. When Jommelli arrived on the scene, Italian opera was dominated by the virtuosic solo singer, and drama was of secondary or even tertiary importance. The public went to hear their favorite singer or composer, and was enthralled by the vocal acrobatics of the virtuosi of the day. Steady streams of groups of secco recitative and exit arias, an aria which was placed at the end of the scene to encourage applause so that the singer could come back on stage, were the building blocks of opera seria, and had little connection with valid dramaturgy. Jommelli and others wanted to change that. Jommelli's compositions tended to use more obbligato recitative, which involved the orchestra as a dramatic partner with the singer. In his later life, he also wrote ensembles and choruses, which had completely gone out of vogue in Italy. His largest ensemble, the final trio in Fetonte, was an entire action scena derived from the action ensembles of comic opera, and included a varied texture of trio, chorus, solos, arioso, and obbligato recitative, as well as programmatic orchestral music. Elements of his style include harmonic and melodic daring, full use of his orchestral resources, mingling of aria and declamation, and a liberal use of chromaticism. His orchestral writing, which included dynamics and the crescendo effect and secondary themes in the dominant, directly influenced the Mannheim symphonists. Contemporary Neapolitan composers that influenced him include Hasse and Leo, both of whom also altered the form of the opera seria for good. Jommelli's first successes were comic operas, but his serious operas were very successful also. It was from Hasse that he learned to write obbligato recitative instead of the recitative semplice that dominated Italian opera at the time. The dramatic possibilities of the orchestra were attractive to Jommelli, and he began to experiment with his resources. In 1741 Jommelli set a text by Metastasio, the opera Ezio. It was a singular success, and commissions from Bologna, Venice, Turin, and Padua followed. In 1743, on the recommendation of his colleague Hasse, Jommelli was hired as musical director of the Ospedale degli Incurabili in Venice. For the girls there he wrote oratorios, motets, masses, and choral works. However opera was still his first love. In 1749 he became maestro coadiutore to the papal chapel, and he composed much sacred music. But he also received commissions for operas from many major cities, for Rome was an international center. One of the most important commissions of his career came at this time, from the city of Vienna. Jommelli set the opera Achille in Sciro for the Viennese court. Metastasio, the king of opera seria librettists, was the court poet in Vienna at the time, and he was so impressed that Jommelli was a court favorite in Vienna for a time. In 1753 Jommelli received an offer to move to Stuttgart, where the Duke was particularly fond of Italian opera and French spectacle. There he was given complete control over his operatic productions, and given almost unlimited resources. He had the best singers and instrumentalists in all of Europe. He developed his obbligato recitative, wrote with great formal variety, and created dramatically complex and alive scenes and acts. Unfortunately, by the time he died, the lighter styles of the opera buffa had taken hold of the public imagination, and his operas were no longer popular. © Rita Laurance, All Music Guide es
dc.description.tableofcontents CD1-- Overture-- Atto Primo ; Scene I : “No Principessa amico sdegno non è (Enea, Selene, Osmida), Scena II : “Enea d’asia splendore” (Didone, Enea), Scena III : “Parte così così mi lascia Enea?” (Didone, Selene, Osmida), Aria “Dirò che fida sei” (Selene), Scena IV “Venga Arbace qual vuole” (Didone, Osmida), Marcia, Scena V : “Vedi mio Re...” (Araspe, Iarba, Didone, Osmida), Aria “Son Regina e sono amante” (Didone), Scena VI : “Araspe alla vendetta” (Iarba, Araspe, Osmida), Aria “Tu mi scorgi al gran disegno” (Osmida), Scena VII : “Quanto è stolto se crede” (Iarba, Araspe), Scena VIII : “Empio! L’orror che porta” (Araspe), Aria “Se dalle stelle tu non sei guida” (Araspe), Scena IX “Già te’l dissi o Selene” (Enea, Selene), Scena X : “Tutta ho scorsa la Regia” (Iarba, Araspe, Enea), Aria “Quando saprai chi sono” (Enea), Scena XI : “Non partirà sé pria...! (Iarba, Selene), Scena XII : “Non è più tempo Araspe” (Iarba, Osmida), Scena XIII : “Dove cori o Signore?” (Araspe, Iarba), Aria “Son qual siume che gonsio d’umori” (Iarba), Scena XIV “Come? Da’labbri tuoi” (Osmida, Enea), Scena XV : “Ecco il rival ne seco” (Iarba, Araspe, Enea, Osmida), Scena XVI : “Siam traditi o Regina” (Osmida, Didone, Araspe, Enea, Iarba), Scena XVII : “Enea falvo già sei” (Didone, Enea), Duetto “Non ha ragione ingrato” (Didone, Enea)-- CD2-- Atto Secondo ; Scena I : “Chi fu che all’inumano” (Selene, Araspe), Aria “D’atre nubi è il sol ravvolto” (Araspe), Scena II : “Già so che si nasconde” (Didone, Osmida), Scena III : “Come! Ancor non partisti=” (Didone, Enea), Aria “Ah non lasciarmi no” (Didone), Scena IV “Io sento vacillar la mia costanza” (Enea, Iarba), Scena V “Così strane venture io non intendo” (Iarba), Aria “Fosca nube il sol ricopra” (Iarba), Scena VI : “Fra’l dovere e l’affretto” (Enea, Araspe), Scena VIII : “Enea brama Didone teco parlar” (Selene, Enea), Aria “Ah non sai bella Selene” (Enea), Scene IV “Stolta! Per chi sospiro?” (Selene), Aria “Ogni amator suppone (Selene), Scena X : “Incerta del mio fato” (Didone, Enea), Scena XI : “Didone a che mi chiedi?” (Iarba, Enea, Didone), Terzetto “Infedel! Ti lascio addio” (Enea, Didone, Iarba)-- CD3-- Atto Terzo ; Scena I : “Compagni invitti a tollerare avvezzi” (Enea), Scena II : “Per un momento il legno” (Iarba, Enea), Scena III : “Già di Iarba in difesa” (Osmida), Scena IV : “Seguitemi o compagni Alla reggia!” (Iarba, Osmida), Scena V “Siam tutti alfin raccolti” (Enea, Osmida), Scena VI “Principessa ove corri?” 8Enea, Selene), Aria “A trionfar mi chiama un bel desio d’onore” (Enea), Scena VII : “Sprezzar la fiamma mia” (Selene), Aria “Io d’amore oh Dio! mi moro” (Selene), Scena VIII : “Va crescendo il mi o tormento” (Didone, Osmida), Scena IX “ Oh Dio germana! Alfine Enea...” (Selene, Didone, Osmida), Scena X : “Ah non fidarti Osmida tu non conosci ancor” (Selene, Didone), Scena XI “Araspe in queste soglie?! (Didone, Araspe, Selene), Scena XII : “Osmida” (Didone, Osmida), Scena XIII : “Al tuo periglio pensa o Didone” (Araspe, Selene, Didone), Scena XIV “I miei casi infelici” (Didone), Scena XV “Fuggi o Regina” (Selene, Didone, Osmida), Scena XVI “Fermati” (Iarbam Didone, Osmida, Selene), Aria “Cadrà fra poco in cenere” (Iarba), Scena XVII “Cedi a Iarba o Didone” (Osmida, Selene, Didone), Scena XVIII “Crescon le fiamme et tu fuggir non curi?” (Osmida, Didone), Scena Ultima “Ah che dissi infelice!” (Didone)-- es
dc.format.extent CD 1 (64:38 min.) ; CD2 (56:13 min.) ; CD3 (48:24 min.) es
dc.format.medium 3 CD-Rom. Digital ; 4 3/4 plg. es
dc.language.iso en_US es
dc.rights Uninorte F.M Estéreo es
dc.subject.lcc 658905487 es
dc.subject.lcsh Operas es
dc.title Didone Abbandonata es
dc.title.alternative Niccolò Jommelli : Didone Abbandonata es
dc.title.alternative Didone Abbandonata Drama per musica in tre atti es
dc.title.alternative Didone Abbandonata Drama musical en Tres Actos es
dc.language.rfc3066 eng es
dc.rights.holder ORFEO International Music GmnH es
dc.identifier.classification 4011790381329 es
dc.subject.cdu Jommeli.01 es


Files in this item

Files Length Size Format View Description
Didone Abbandonata - Overtura.wav 6:13 62.66Mb WAV audio wav
Didone Abbandonata - Atto Primo.wav 58:27 590.0Mb WAV audio wav
Didone Abbandonata - Atto Secondo.wav 56:13 567.5Mb WAV audio wav
Didone Abbandonata - Atto Terzo.wav 48:23 488.3Mb WAV audio wav

This item appears in the following Collection(s)

Show simple item record