Hermosa música-arte de WAMozart escrita con iluminación "a vela", sin luz eléctrica, etc. Que genio, este hombre! Siento emoción y agradecimiento a la divinidad por haber sido elegido a sentir, gozar, valorar, etc. tremenda música... gracias gracias gracias. Gracias Director, músicos, cantantes...
Per me questo repertorio è una scoperta tardiva! Prima di vedere l’opera ho letto i commenti degli appassionati di lungo corso, notazioni che mi hanno guidato nell’ascolto. Questa è un’esecuzione magnifica!
Don Anchise (Podesta) - Stuart Kale Sandrina (Violante) - Britt-Marie Aruhn Il Contino Belfiore - Richard Croft Arminda - Eva Pilat Ramiro - Annika Skoglund Serpetta - Ann Christine Biel Nardo - Petteri Salomaa Chorus and Orchestra of the Drottningholm Court Theatre conducted by Arnold Ostman Recorded at the Drottningholm Court Theatre, Drottningholm in 1988. Released in 1988 on LaserDisc by Philips Classics, along with Ostman's recording of "Cosi fan tutte".
Mozart wrote this opera at 18 years old. And it was not at all his first one. He wrote the first opera (singspielpiel) at 11. That is out of this world.
I can't believe how much effort must have been taken to give this wonderful performance; from the talent (Richard Croft is amazing in his singing and acting but so are they all), the staging, the costumes and the orchestra dressed in period costumes and playing period instruments. The story line is daffy but who cares when the music is so divine? Love it!
La finta giardiniera, K.196 (La Fausse Jardinière) est un opéra de Wolfgang Amadeus Mozart créé en 1775 sur un livret en italien attribué à Giuseppe Petrosellini, après avoir été longtemps attribué à Ranieri de' Calzabigi. Mozart termina sa composition à Munich en janvier, alors qu'il avait 18 ans. La première eut lieu le 13 janvier 1775 au Salvatortheater de Munich. En 1779, lors du passage d'une troupe à Salzbourg, Mozart transforme l'œuvre en un singspiel en allemand Die Gärtnerin aus Liebe Écouter avec des dialogues parlés. L'original jugé perdu, c'est sous cette forme que l'opéra a été joué jusqu'en 1978, date à laquelle l'édition critique de la Neue Mozart Ausgabe a restitué l'œuvre sous sa forme originale. L'autographe de l'acte I a disparu. Celui des actes II et III se trouve à la Bibliothèque Jagellonne.
I’ve always thought that Östman’s pacing of Mozart’s operas are waaaay too fast, but I always enjoy them immensely! You just can’t beat the ultimate experience of a Mozart opera in an authentic wooden jewel box opera house that Mozart himself would have recognized. The Dröttningholm Court Theater is a treasure!
Existen buenas adaptaciones actuales, pero las escenificación tradicional permite controlar mejor el ritmo y no desviar la atención de la música y la voz.
They removed all Sandrina's arias and recitatives in the first act, along with Ramiro's opening aria "Se l'augellin sen fugge". Also very disappointing that I can't use my libretto to follow along, because mine being from the Complete Mozart Edition, isn't the same.
Mozart operái közül ez még kimaradt nálam (több másikkal együtt is). Mozart operáiról - pejorativitást mellőzve - azt állapítottam meg, hogy legtöbb operájában új témát nemigen talált, mint szerelem, álruhás cselszövések, melyeknek vége természetesen happy end. Igaz, ezek a motívumok az életből merítődnek, hiszen mi más is lehetne? - Mozart stílusa ezért számomra már messziről felismerhetőek, nemcsak a zenében, hanem a párbeszédekben is.
@@psalm2764 Es gab diese Worte von 1775: So prognostizierte der Dichter Christian Friedrich Daniel Schubart unter dem Eindruck der Uraufführung 1775: „Wenn Mozart nicht eine im Gewächshaus getriebene Pflanze ist, so muss er einer der größten musikalischen Komponisten werden, die jemals gelebt haben.“
No, Anfossi just used the same libretto, by Giuseppe Petrosellini. None of the music is the same, but Mozart had obviously seen a production of Anfossi's opera previously, and been inspired to use the same libretto.
@@RequiemAeternam01 And Mozart also wrote arias for Anfosi's "Il Curoso Indiscreto" and "Le gelose fortunate" on the occasion of two performances in Vienna in 1783 and 1788 - as if they were actually written by Anfosi. Mozart was often hired in Vienna, for various reasons (the composer whose opera was performed left Vienna, and the audience liked the opera, so in the reruns of that opera, new arias were added, etc.) - to write an aria in the MANNER of a certain composer. Two important musicologists, Georges du Parc Poulain Saint-Foix and Theodor Vizeva, in their monumental monograph on Mozart in five volumes, make a detailed comparison between the score of Anfosi's La finta giardiniera and Mozart's. The two scholars note many similarities between the two works, noting that Mozart often followed the formal schemes of Anfosius's work and even adopted his rhythmic invention. This work is also mentioned in the essay "Italian Music in the Eighteenth Century" edited by Roberto Zanetti for the publisher Bramante. Zanetti adds: "on the other hand, Mozart generally adopted what is considered a characteristic of Anfosius' operas, that is, the division of the aria into two parts, of different tempo and rhythm," which is usually attributed to Mozart.
@@stefanstamenic3640 I still find it somewhat hard to believe that Mozart would copy a work by Anfossi. Of course they're both in the same style, because it was popular back then. It was customary for arias to have an A section then a B section, unlike the da capo arias of the Baroque era, which were set in ABA form. Many composers during the Classical era used the AB form, Salieri, Haydn, Gluck, C.P.E. Bach and countless others. I am aware that Mozart composed concert and insertion arias for other composer's operas, but I don't see how Mozart writing two arias for the Anfossi opera justifies that he copied it.
