Giuseppe Bonno, a composer who showed great musical talent from childhood. This talent enabled him to be sent to Naples to study musical composition. Thanks to his skills as a composer, he was able to rise through the ranks of the Habsburg court and become a composer and conductor at the court, as well as its Chapel Master. Today his operas are, sadly, forgotten (two of them are also lost), with the exception of "L'isola disabitata", from which this soprano aria is taken. The same fate befell his vocal music, although there are recordings of it available.
Se non piange un'infelice, da' viventi separata, dallo sposo abbandonata, dimmi, oh dio, chi piangerà? Chi può dir ch'io pianga a torto, se né men sperar mi lice questo misero conforto d'ottener l'altrui pietà.
Música barroca del Virreinato de Nueva Granada. Perú no existía. Es como decir que una composición del Imperio romano es italiano. Las cosas, por su nombre.
?? quizás tu argumento aplica para colombia y méxico (Nueva Granada - Nueva España), música de esos años en esas regiones sería capaz novohispana o novogranadina imaginaría si es que quieres ir por un tema netamente de nombre ya dependerá de ellos, pero eso no aplica para Perú, por historia y por nombre esta región siempre ha sido denominada Perú y lo fue en los años de esta composición, así que música barroca peruana es totalmente válido. Además qué tiene que ver Nueva Granada? esta composición fue hecha por el maestro de la capilla de Cuzco, que tiene que ver eso con el virreinato de nueva granada que se ubicaba al norte en tierra firme y que recién surgió en el siglo 18? por geografía cronología e historia no tiene mucho sentido lo que dices.
The first music by Handel presented in London have been Agrippina's "Non ho cor che" (Se la morte non vorrà - HWV 150 ), transposed into Alessandro Scarlatti's opera "Pirro è Dimitrio" which was performed in London on 1708. "Pyrrhus and Demetrius" was a 1708 adaptation for the London stage of the 1694 opera "Il Pirro e Demetrio" by Alessandro Scarlatti with a libretto by Adriano Morselli, first performed at the Teatro San Bartolomeo; the London version was prepared by Nicola Haym - Haym also inserted an aria by Handel from Agrippina.
A million time more enjoyable than the numerous countertenors who sing this aria. Creating music in your unconstricted, natural voice brings the beauty and magnificence out of this aria no countertenor can ever manage. I actually found this piece annoying before I heard it sung by female voices.
Agreed! 💯🎯 100% on target!. As I said in my original comment, This is an astonishing work by Leonardo Vinci And Lucia's incredible voice is good strong medicine; healing and totally exhilarating. Lucia is fabulous. Her rendition is powerful and smooth, without sounding forced, contrived like the falsetto of an overreaching male countertenor or overbearing. I'm not against countertenors or others in the same vocal range... but I have yet to hear this work as "natural sounding"(?) or pleasingly plump and sweeter than Lucia's. Unlike other interpretations, Lucia knows when to, and more importantly, when Not to use vibrato. Bravo Lucia ❤
A wonderful passion. Thanks for uploading it a thousand times. The best I have ever heard written by an Italian composer. Are there any more like this? If Feo could write such a beautiful and deep passion, I suppose there must be some others. The Scarlatti's is not this quality in my modest opinion. And Jomelli's isn't this quality, either.
O lusinghiero amor, se il caro ben m'involi da me che più pretendi, che sempre più m'accendi co' le tue fiamme il cor? O lusinghiero amor, se sordo ai miei lamenti già ti mostrasti appieno, toglimi omai dal seno un sì ostinato ardor. Tra cento furie, e cento palpita l'alma mia, ma più mi dà tormento la fiera gelosia, che il cor sta a lacerarmi con barbaro furor. Ma voce tenera nel cor mi dice che avrò per premio quel dì felice che calma, e giubilo darà al mio cor.
Muy agradecida que tantas personas de otros países AMEN A MI VENEZUELA, cuando todo lo perverso termine los esperamos felices de que vengan a mi adorada PATRIA gracias , gracias y gracias
Absolutely beautiful. Incredible voice of the soprano, she handles perfectly baroque ornamentation and she's got a very good taste on using the proper one every moment. Magnificent orchestra aswell, bravi. The piece itself is lovely, honest, clear, shiny... Vivaldi in all his fullness
Un millón de veces mejor que Bach: relato dramático, sin pausa, ininterrumpido, asfixiante. Claro, es otro contexto y otro fin, pero la intensidad, la inmediatez de esta obra es impresionante, mucho.
