Gala Lirica Sinfonico

Orchestra Filarmonica di Benevento
Teatro Umberto Giordano di Foggia

  • Conductor Francesco Ivan Ciampa
  • December 2016
    17:09 > 20:09
    3 hours
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Gala Lirica Sinfonico


Press & Reviews

Fabrizio Simone
Jessica Pratt e l’OFB enchant the GiordanoTheatre
That Pratt sings Mozart or sings Donizetti, the result is always the same: the audience is literally delirious, overwhelming the soprano with crashing applause. So it was at the end of the first aria of the Queen of the Night, and even more after Der Holle Rache Kocht in meinem Herzen, but the “Scena di pazzia" was greeted with an ovation even more clamorou. After three curtain calls Pratt gave an encore, Summertime (always Gershwin) to which the audience responded with a further enthusiastic applause.


Il dolce suono mi colpì di sua voce...Ardon gli incensi... Spargi d'amaro pianto

taken from Lucia di Lammermoor by Gaetano Donizetti
Raimondo has just interrupted the marriage celebrations to tell the guests that Lucia has gone mad and killed her bridegroom Arturo. Lucia enters. In the aria she imagines being with Edgardo, soon to be happily married.
RAIMONDO Eccola! CHORUS Oh giusto cielo! Par dalla tomba uscita! LUCIA Il dolce suono mi colpì di sua voce!...Ah, quella voce m'è qui nel cor discesa! Edgardo, io ti son resa, Edgardo, ah, Edgardo mio! Sì, ti son resa, fuggita io son da' tuoi nemici. Un gelo mi serpeggia nel sen! Trema ogni fibra!...Vacilla il piè! Presso la fonte meco t'assidi alquanto. Ohimè! Sorge il tremendo fantasma, e ne separa! Ohimè! Ohimè! Edgardo! Edgardo! Ah! Il fantasma ne separa! Qui ricovriamo, Edgardo, a piè dell'ara. Sparsa è di rose!...Un'armonia celeste, di', non ascolti? Ah! L'inno suona di nozze! Il rito per noi s'appresta!...Oh me felice! Edgardo, Edgardo, oh me felice! Oh, gioia che si sente e non si dice! Ardon gli incensi...splendon le sacre faci, splendon intorno! Ecco il Ministro! Porgimi la destra...Oh, lieto giorno! Alfin son tua, alfin sei mio, a me ti dona un Dio. Spargi d'amaro pianto Il mio terrestre velo, Mentre lassù nel cielo Io pregherò, pregherò per te Al giunger tuo soltanto Fia bello il ciel per me! Ah sì, ah sì, ah sì per me Fia bello il ciel Il ciel per me Ah sì, ah sì, ah sì per me Sì, per me... per me... Ah sì Spargi d'amaro pianto Il mio terrestre velo, Mentre lassù nel cielo Io pregherò,…

O zittre nicht

taken from Die Zauberflöte by W. A. Mozart
"O zittre nicht, mein lieber Sohn" ("Oh, tremble not, my dear son") is the first aria performed by the Queen of the Night (a famous soprano coloratura part) in Mozart's singspiel The Magic Flute (Die Zauberflöte). It is not as well known as the Queen's second aria, "Der Hölle Rache kocht in meinem Herzen", though no less demanding; the aria requires a soprano coloratura with extremely high tessitura and great vocal flexibility. The role of Queen of the Night demands a range that until Mozart's time was almost never called for, and this opened the door for later composers to call for specific kind of singers (lyric, dramatic, coloratura etc.), rather than just "soprano", "tenor" etc.[1] The soprano soloist (vocal range: D4 to F6) performs with an orchestra consisting of pairs of oboes, bassoons, horns, and strings. The three parts of the Queen's discourse are set as musically separate items, each marked by a change in key: Recitative (B-flat major) – continues the Allegro maestoso tempo marking of the entrance music, but often performed in free tempo First part of the aria (G minor) – Andante Second part of the aria (back to B-flat major) – Allegro moderato It is in the third part that the music reaches a high level of virtuosity for the soloist, including very difficult coloratura. Mozart aligned the text (dann) to give the singer the most sonorous and singable vowel "a" for most of the passage. The highest note, F6 in scientific pitch notation, is claimed by a posthumous witness to have been mentioned by Mozart on his deathbed; the composer was (if the story is true) imagining his sister-in-law's performance.
O zittre nicht, mein lieber Sohn! Du bist ja schuldlos, weise, fromm. Ein Jüngling, so wie du, vermag am besten Dies tiefbetrübte Mutterherz zu trösten. Zum Leiden bin ich auserkoren, Denn meine Tochter fehlet mir; Durch sie ging all mein Glück verloren: Ein Bösewicht entfloh mit ihr. Noch sehe ich ihr Zittern, Mit bangem Erschüttern Ihr ängstliches Beben, Ihr schüchternes Streben. Ich musste sie mir rauben sehen: »Ach helft! « war alles, was sie sprach; Allein, vergebens ward ihr Flehen, Denn meine Hilfe war zu schwach. Du wirst sie zu befreien gehen, Du wirst der Tochter Rettet sein. Und werd ich dich als Sieger sehen, So sei sie dann auf ewig dein.

Die Holle rache

taken from Die Zauberflöte by W. A. Mozart
"Der Hölle Rache kocht in meinem Herzen" ("Hell's vengeance boils in my heart"), commonly abbreviated "Der Hölle Rache", is an aria sung by the Queen of the Night, a coloratura soprano part, in the second act of Mozart's opera The Magic Flute (Die Zauberflöte). It depicts a fit of vengeful rage in which the Queen of the Night places a knife into the hand of her daughter Pamina and exhorts her to assassinate Sarastro, the Queen's rival, on pain of denying and cursing Pamina if she does not comply. "Der Hölle Rache" is one of the most famous of all opera arias, memorable, fast paced and menacingly grandiose. It is often referred to as the "Queen of the Night's Aria"' despite the fact that the Queen sings another distinguished aria earlier in the opera, "O zittre nicht, mein lieber Sohn". The aria is written in D minor, and is scored for pairs of flutes, oboes, bassoons, horns, and trumpets, along with timpani and the string section. This is a larger orchestra than for "O zittre nicht" and comprises all the players from the opera as a whole, except the clarinets and trombones. The aria is renowned as a demanding piece to perform well. The aria's vocal range covers two octaves, from F4 to F6 and requires a very high tessitura. Bauman has expressed particular admiration for one moment in the score. At the climax of the aria, the Queen sings the words "Hört, hört, hört!" solo, in alternation with loud chords from the orchestra. The first two syllables are sung to D and F, suggesting to the listener a third one on A, completing the D minor triad. But, as Bauman writes: Mozart's masterstroke is the transformation he brought about by moving from the third degree to the flat sixth rather than to the fifth. ... No matter how often one hears this passage ... one is led by musical logic to expect, after D and F, A. But the Queen sings a terrifying B? instead.[1] The effect is accompanied by unexpected Neapolitan harmony in the orchestra, with all the violins playing in unison high on the G string to intensify the sound.[2]
Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung flammet um mich her! Fühlt nicht durch dich Sarastro Todesschmerzen, so bist du meine Tochter nimmermehr. Verstoßen sei auf ewig, verlassen sei auf ewig, zertrümmert sei'n auf ewig alle Bande der Natur. wenn nicht durch dich Sarastro wird erblassen! Hört, hört, hört, Rachegötter, hört, der Mutter Schwur!

Gaetano Donizetti

Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) along with Gioachino Rossini and Vincenzo Bellini, was a leading composer of the bel canto opera style during the first half of the nineteenth century. Born in Bergamo in Lombardy, was taken, at an early age, under the wing of composer Simon Mayr who had enrolled him by means of a full scholarship. Mayr was also instrumental in obtaining a place for the young man at the Bologna Academy, where, at the age of 19, he wrote his first one-act opera, the comedy Il Pigmalione. Over the course of his career, Donizetti wrote almost 70 operas. An offer in 1822 from Domenico Barbaja, the impresario of the Teatro di San Carlo in Naples, which followed the composer's ninth opera, led to his move to that city and his residency there which lasted until the production of Caterina Cornaro in January 1844. In all, Naples presented 51 of Donizetti's operas. Before 1830, success came primarily with his comic operas, the serious ones failing to attract significant audiences. However, his first notable success came with an opera seria, Zoraida di Granata, which was presented in 1822 in Rome. In 1830, when Anna Bolena was premiered, Donizetti made a major impact on the Italian and international opera scene and this shifted the balance of success away from primarily comedic operas, although even after that date, his best-known works included comedies such as L'elisir d'amore (1832) and Don Pasquale (1843). Significant historical dramas did appear and became successful; they included Lucia di Lammermoor (the first to have a libretto written by Salvatore Cammarano) given in Naples in 1835, and one of the most successful Neapolitan operas, Roberto Devereux in 1837. Up to that point, all of his operas had been set to Italian libretti. Donizetti found himself increasingly chafing against the censorial limitations which existed in Italy (and especially in Naples). From about 1836, he became interested in working in Paris, where he saw much greater freedom to choose subject matter, in addition to receiving larger fees and greater prestige. From 1838 onward, with an offer from the Paris Opéra for two new works, he spent a considerable period of the following ten years in that city, and set several operas to French texts as well as overseeing staging of his Italian works. The first opera was a French version of the then-unperformed Poliuto which, in April 1840, was revised to become Les martyrs. Two new operas were also given in Paris at that time. As the 1840s progressed, Donizetti moved regularly between Naples, Rome, Paris, and Vienna continuing to compose and stage his own operas as well as those of other composers. But from around 1843, severe illness began to take hold and to limit his activities. Eventually, by early 1846 he was obliged to be confined to an institution for the mentally ill and, by late 1847, friends had him moved back to Bergamo, where he died in April 1848.

W. A. Mozart

Wolfgang Amadeus Mozart ( 27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical era. Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court, but grew restless and traveled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death. The circumstances of his early death have been much mythologized. He was survived by his wife Constanze and two sons. He composed more than 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his own early works in the shadow of Mozart, and Joseph Haydn wrote that "posterity will not see such a talent again in 100 years".


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