¡Viva el belcanto!

Amigos de la Opera de A Coruna
Teatro Colon http://www.amigosoperacoruna.org

Coruna
  • October 2020
    16
    Friday
    20:00 > 23:00
    3 hours
Organizer Website
Find out more about the Program or what the Reviews say

¡Viva el belcanto!

Program

  • Matilde di Shabran Overture

    taken from Matilde di Shabran di Gioacchino Rossini

  • Cessa di più resistere

    taken from Il Barbiere di Siviglia di Gioacchino Rossini
    • Xabier Anduaga - Conte Almaviva TENOR

  • Qui la voce sua soave” … “Vien diletto, in ciel la luna

    taken from I Puritani di Vincenzo Bellini
    • Xabier Anduaga - Elvira TENOR

  • Ah! mes amis, quel jour de fête!

    taken from La fille du régiment di Gaetano Donizetti
    • Xabier Anduaga - Tonio TENOR

  • è strano... Ah fors'è lui... Sempre libera

    taken from La Traviata di Giuseppe Verdi

  • Chiedi all'aura lusinghiera

    taken from L'elisir d'amore di Gaetano Donizetti

  • L'anello mio... Ah non credea mirarti... Ah non giunge

    taken from La Sonnambula di Vincenzo Bellini

  • Una furtiva lagrima

    taken from L'elisir d'amore di Gaetano Donizetti
    • Xabier Anduaga - Nemorino TENOR

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

    taken from Lucia di Lammermoor di Gaetano Donizetti

  • Por el humo se sabe donde està el fuego

    taken from Dona Francisquita di Amadeo Vives

  • Zampa Overture

    taken from Zampa di Ferdinand Hérold

  • Lucia perdona… Verranno a te sull’aure

    taken from Lucia di Lammermoor di Gaetano Donizetti

  • Glitter and be gay

    taken from Candide di Leonard Bernstein

  • No puede ser

    taken from La tabernera del puerto di Pablo Sorozábal

  • Libiamo fra lieti calici

    taken from La Traviata di Giuseppe Verdi

  • è strano... Ah fors'è lui... Sempre libera

    taken from La Traviata di Giuseppe Verdi

Press & Reviews

Excerpts

Matilde di Shabran Overture

taken from Matilde di Shabran by Gioacchino Rossini

Cessa di più resistere

taken from Il Barbiere di Siviglia by Gioacchino Rossini
Lyrics
Ola', t'accheta. Cessa di piu' resistere, non cimentsr mio sdegno. Spezzato e' il gioco indegno di tanta crudelta'. Della belta' dolente, d'un innocente amore l'avaro tuo furore piu' non trionfera'. E tu, infelice vittima d'un reo poter tiranno, sottratta al giogo barbaro, cangia in piacer l'affanno e in sen d'un fido sposo gioisci in liberta', Cari amici

Ah! mes amis, quel jour de fête!

taken from La fille du régiment by Gaetano Donizetti
Lyrics
TONIO Ah! mes amis, quel jour de fête! Je vais marcher sous vos drapeaux. L'amour, qui m'a tourné la tête. Désormais me rend un héros, Ah! quel bonheur, oui, mes amis, Je vais marcher sous vos drapeaux! Qui, celle pour qui je respire, A mes voeux a daigné sourire Et ce doux espoir de bonheur Trouble ma raison et man coeur! Ah! LE CAPORAL Le camarade est amoureux! (Les soldats rient) TONIO Et c'est vous seuls que j'espère. CAPORAL, SOLDATS Quoi! c'est notre enfant que tu veux! TONIO Écoutez-moi, écoutez-moi. Messieurs son père, écoutez-moi, Car je sais qu'il dépend de vous De me rendre ici son époux. CAPORAL, SOLDATS Notre fille qui nous est chère N'est pas, n'est pas pour un ennemi. Non! Il lui faut un meilleur parti, Telle est la volonté d'un père. TONIO Vous refusez? CAPORAL, SOLDATS Complètement.D'ailleurs, elle est promise... LE CAPORAL ... a notre régiment... LES SOLDATS ... a notre régiment... TONIO (Avec force) Mais j'en suis, puisqu'en cet instant Je viens de m'engager, pour cela seulement! CAPORAL, SOLDATS Tant pis pour toi! TONIO Messieurs son père... LES SOLDATS Tant pis pour toi! TONIO ... écoutez-moi! CAPORAL, SOLDATS Tant pis pour toi! TONIO Ma votre fille m'aime! CAPORAL, SOLDATS (Avec surprise) Se pourrait-il! quoi! notre enfant! TONIO Elle m'aime, vous dis-je, j'en fais serment! CAPORAL, SOLDATS Eh! quoi... notre Marie... TONIO Elle m'aime, j'en fais serment! CAPORAL, SOLDATS Que dire, que faire? Puisqu'il a su plaire, Il faut, en bon père Ici, consentir. Mais pourtant j'enrage, Car c'est grand dommage De l'unir avec Un pareil blanc-bec! Oui, c'est un grand dommage! TONIO Eh! bien? LE CAPORAL Si tu dis vrai, son père en ce moment Te promet son consentement CAPORAL, SOLDATS Oui, te promet son consentement TONIO Pour mon âme, Quel destin! J'ai sa flamme, Et j'ai sa main! Jour prospère! Me voici Militaire et mari!

Qui la voce sua soave” … “Vien diletto, in ciel la luna

taken from I Puritani by Vincenzo Bellini
Lyrics
Qui la voce sua soave Mi chiamava e poi sparì. Qui giurava esser fedele, Qui il giurava, E poi crudele, mi fuggì! Ah! mai più qui assorti insieme Nella gioia dei sospir. Ah! rendetemi la speme, O lasciate, lasciatemi morir! Vien, diletto, è in ciel la luna! Tutto tace intorno, intorno; Finchè spunti in ciel il giorno, Ah, vien, ti posa sul mio cor! Deh! t'affretta, o Arturo mio, Riedi, o caro, alla tua Elvira; Essa piange e ti sospira, Vien, o caro, all'amore.

è strano... Ah fors'è lui... Sempre libera

taken from La Traviata by Giuseppe Verdi
Lyrics
VIOLETTA Violetta sola È strano! è strano! in core Scolpiti ho quegli accenti! Sarìa per me sventura un serio amore? Che risolvi, o turbata anima mia? Null'uomo ancora t'accendeva O gioia Ch'io non conobbi, essere amata amando! E sdegnarla poss'io Per l'aride follie del viver mio? Ah, fors'è lui che l'anima Solinga ne' tumulti Godea sovente pingere De' suoi colori occulti! Lui che modesto e vigile All'egre soglie ascese, E nuova febbre accese, Destandomi all'amor. A quell'amor ch'è palpito Dell'universo intero, Misterioso, altero, Croce e delizia al cor. A me fanciulla, un candido E trepido desire Questi effigiò dolcissimo Signor dell'avvenire, Quando ne' cieli il raggio Di sua beltà vedea, E tutta me pascea Di quel divino error. Sentìa che amore è palpito Dell'universo intero, Misterioso, altero, Croce e delizia al cor! Resta concentrata un istante, poi dice Follie! follie delirio vano è questo! Povera donna, sola Abbandonata in questo Popoloso deserto Che appellano Parigi, Che spero or più? Che far degg'io! Gioire, Di voluttà nei vortici perire. Sempre libera degg'io Folleggiar di gioia in gioia, Vo' che scorra il viver mio Pei sentieri del piacer, Nasca il giorno, o il giorno muoia, Sempre lieta ne' ritrovi A diletti sempre nuovi Dee volare il mio pensier.

Chiedi all'aura lusinghiera

taken from L'elisir d'amore by Gaetano Donizetti

L'anello mio... Ah non credea mirarti... Ah non giunge

taken from La Sonnambula by Vincenzo Bellini

Una furtiva lagrima

taken from L'elisir d'amore by Gaetano Donizetti
Synopsis
"Una furtiva lagrima" (A furtive tear) is the romanza from act 2, scene 8 of the Italian opera L'elisir d'amore by Gaetano Donizetti. It is sung by Nemorino (tenor) when he finds that the love potion he bought to win the heart of his dream lady, Adina, works. Nemorino is in love with Adina, but she is not interested in a relationship with an innocent, rustic man. To win her heart, Nemorino buys a love potion with all the money he has in his pocket. That love potion is actually a cheap red wine sold by a traveling quack doctor, but when he sees Adina weeping, he knows that she has fallen in love with him, and he is sure that the "elixir" has worked.
Lyrics
Una furtiva lagrima Negli occhi suoi spunto Quelle festosee giovani Invidiar sembro Che piu cercando io vo" M'ama, lovedo Un solo instante I palpiti Del suo bel cor sentir! I miei sospir, confondere Per poco a' suoi sospir! Cielo, si puo morir! Di piu con chiedo

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

taken from Lucia di Lammermoor by Gaetano Donizetti
Synopsis
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.
Lyrics
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,…

Por el humo se sabe donde està el fuego

taken from Dona Francisquita by Amadeo Vives

Zampa Overture

taken from Zampa by Ferdinand Hérold

Lucia perdona… Verranno a te sull’aure

taken from Lucia di Lammermoor by Gaetano Donizetti
Lyrics
EDGARDO Lucia, perdona se ad ora inusitata io vederti chiedea: ragion possente a ciò mi trasse. Prìa che in ciel biancheggi l'alba novella dalle patrie sponde lungi sarò. LUCIA Che dici? EDGARDO Pe' Franchi lidi amici sciolgo le vele; ivi trattar m'è dato le sorti della Scozia. LUCIA E me nel pianto abbandoni così? EDGARDO Prìa di lasciarti Ashton mi vegga...io stenderò placato a lui la destra e la tua destra, pegno fra noi di pace, chiederò. LUCIA Che ascolto! Ah, no...rimanga nel silenzio sepolto per or l'arcano affetto. EDGARDO Intendo! Di mia stirpe il reo persecutor, dei mali miei ancor pago non è! Mi tolse il padre, il mio retaggio avito. Né basta? Che brama ancor quel cor feroce e rio? La mia perdita intera? Il sangue mio? Egli m'odia... LUCIA Ah, no... EDGARDO M'aborre. LUCIA Calma, oh ciel, quell'ira estrema. EDGARDO Fiamma ardente in sen mi corre! M'odi. LUCIA Edgardo! EDGARDO M'odi e trema! Sulla tomba che rinserra il tradito genitore al tuo sangue eterna guerra io giurai nel mio furore. LUCIA Ah! EDGARDO Ma ti vidi, e in cor mi nacque altro affetto, e l'ira tacque. Pur quel voto non è infranto, io potrei, sì potrei compirlo ancor! LUCIA Deh! Ti placa. Deh, ti frena. EDGARDO Ah, Lucia! LUCIA Può tradirne un solo accento! Non ti basta la mia pena? Vuoi ch'io mora di spavento? EDGARDO Ah, no! LUCIA Ceda, ceda ogn'altro affetto, solo amor t'infiammi il petto; un più nobile, più santo, d'ogni voto è un puro amor, ah, solo amore, ecc. Cedi, cedi a me, cedi, cedi all'amor. EDGARDO Pur quel voto non è infranto, ecc. Io potrei compirlo ancor. (con subita risoluzione) Qui di sposa eterna fede, qui mi giura al cielo innante. Dio ci ascolta, Dio ci vede; tempio ed ara è un core amante; (ponendo un anello in dito a Lucia) al tuo fato unisco il mio, son tuo sposo. LUCIA (porgendo a sua volta il proprio anello ad Edgardo) E tua son io. EDGARDO e LUCIA Ah, soltanto il nostro foco spegnerà di morte il gel. LUCIA Ai miei voti amore invoco, ai miei voti invoco il ciel, ecc. EDGARDO Ai miei voti invoco il cielo, ecc. Separarci omai conviene. LUCIA Oh, parola a me funesta! Il mio cor con te ne viene. EDGARDO Il mio cor con te qui resta, ecc. LUCIA Ah, Edgardo, ah! Edgardo! EDGARDO Separarci omai convien. LUCIA Ah, talor del tuo pensiero venga un foglio messaggero, e la vita fuggitiva di speranze nutrirò. EDGARDO Io di te memoria viva sempre, o cara, serberò. LUCIA Ah! Verranno a te sull'aure i miei sospiri ardenti, udrai nel mar che mormora l'eco dei miei lamenti. Pensando ch'io di gemiti mi pasco e di dolor, spargi un'amara lagrima su questo pegno allor, ah, su questo pegno, ecc. EDGARDO Verranno a te sull'aure, ecc. EDGARDO e LUCIA Ah! Verranno a te sull'aure, ecc. EDGARDO Rammentati, ne stringe il ciel! EDGARDO e LUCIA Addio!

Glitter and be gay

taken from Candide by Leonard Bernstein

No puede ser

taken from La tabernera del puerto by Pablo Sorozábal

Libiamo fra lieti calici

taken from La Traviata by Giuseppe Verdi

è strano... Ah fors'è lui... Sempre libera

taken from La Traviata by Giuseppe Verdi
Lyrics
VIOLETTA Violetta sola È strano! è strano! in core Scolpiti ho quegli accenti! Sarìa per me sventura un serio amore? Che risolvi, o turbata anima mia? Null'uomo ancora t'accendeva O gioia Ch'io non conobbi, essere amata amando! E sdegnarla poss'io Per l'aride follie del viver mio? Ah, fors'è lui che l'anima Solinga ne' tumulti Godea sovente pingere De' suoi colori occulti! Lui che modesto e vigile All'egre soglie ascese, E nuova febbre accese, Destandomi all'amor. A quell'amor ch'è palpito Dell'universo intero, Misterioso, altero, Croce e delizia al cor. A me fanciulla, un candido E trepido desire Questi effigiò dolcissimo Signor dell'avvenire, Quando ne' cieli il raggio Di sua beltà vedea, E tutta me pascea Di quel divino error. Sentìa che amore è palpito Dell'universo intero, Misterioso, altero, Croce e delizia al cor! Resta concentrata un istante, poi dice Follie! follie delirio vano è questo! Povera donna, sola Abbandonata in questo Popoloso deserto Che appellano Parigi, Che spero or più? Che far degg'io! Gioire, Di voluttà nei vortici perire. Sempre libera degg'io Folleggiar di gioia in gioia, Vo' che scorra il viver mio Pei sentieri del piacer, Nasca il giorno, o il giorno muoia, Sempre lieta ne' ritrovi A diletti sempre nuovi Dee volare il mio pensier.

Gioacchino Rossini

Gioachino Antonio Rossini (29 February 1792 – 13 November 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces. His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville) and La Cenerentola (Cinderella), and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart". Until his retirement in 1829, Rossini had been the most popular opera composer in history. He is quoted as joking, "Give me the laundress' bill and I will even set that to music."

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.

Vincenzo Bellini

Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was an Italian opera composer, who was known for his long-flowing melodic lines for which he was named "the Swan of Catania". Many years later, in 1898, Giuseppe Verdi "praised the broad curves of Bellini's melody: 'there are extremely long melodies as no-one else had ever made before' " A large amount of what is known about Bellini's life and his activities comes from surviving letters—except for a short period—which were written over his lifetime to his friend Francesco Florimo, whom he had met as a fellow student in Naples and with whom he maintained a lifelong friendship. Other sources of information come from correspondence saved by other friends and business acquaintances. Bellini was the quintessential composer of the Italian bel canto era of the early 19th century, and his work has been summed up by the London critic Tim Ashley as: ... also hugely influential, as much admired by other composers as he was by the public. Verdi raved about his "long, long, long melodies ..." Wagner, who rarely liked anyone but himself, was spellbound by Bellini's almost uncanny ability to match music with text and psychology. Liszt and Chopin professed themselves fans. Of the 19th-century giants, only Berlioz demurred. Those musicologists who consider Bellini to be merely a melancholic tunesmith are now in the minority. In considering which of his operas can be seen to be his greatest successes over the almost two hundred years since his death, Il pirata laid much of the groundwork in 1827, achieving very early recognition in comparison to Donizetti's having written thirty operas before his major 1830 triumph with Anna Bolena. Both I Capuleti ed i Montecchi at La Fenice in 1830 and La sonnambula in Milan in 1831 reached new triumphal heights, although initially Norma, given at La Scala in 1831 did not fare as well until later performances elsewhere. "The genuine triumph" of I puritani in January 1835 in Paris capped a significant career. Certainly, Capuleti, La sonnambula, Norma, and I puritani are regularly performed today. After his initial success in Naples, most of the rest of his short life was spent outside of both Sicily and Naples, those years being followed with his living and composing in Milan and Northern Italy, and—after a visit to London—then came his final masterpiece in Paris, I puritani. Only nine months later, Bellini died in Puteaux, France at the age of 33.

Giuseppe Verdi

Giuseppe Fortunino Francesco Verdi (9 or 10 October 1813 – 27 January 1901) was an Italian opera composer. Verdi was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Bellini, Donizetti and Rossini, whose works significantly influenced him, becoming one of the pre-eminent opera composers in history. In his early operas Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi however did not seek to ingratiate himself with popular movements and as he became professionally successful was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893). His operas remain extremely popular, especially the three peaks of his 'middle period': Rigoletto, Il trovatore and La traviata, and the bicentenary of his birth in 2013 was widely celebrated in broadcasts and performances.

Amadeo Vives

(18 November 1871 – 2 December 1932) was a Spanish musical composer, creator of over a hundred stage works. He is best known for Doña Francisquita, which Christopher Webber has praised for its "easy lyricism, fluent orchestration and colourful evocation of 19th Century Madrid—not to mention its memorable vocal and choral writing" characterizes as "without doubt the best known and loved of all his works, one of the few zarzuelas which has 'travelled' abroad"

Ferdinand Hérold

(28 January 1791 – 19 January 1833), better known as Ferdinand Hérold, was a French operatic composer of Alsatian descent who also wrote many pieces for the piano, orchestra, and the ballet. He is best known today for the ballet La fille mal gardée and the overture to the opera Zampa.

Leonard Bernstein

Leonard Bernstein (August 25, 1918 – October 14, 1990) was an American composer, conductor, author, music lecturer, and pianist. He was among the first conductors born and educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history." His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, and from his music for West Side Story, Peter Pan, Candide, Wonderful Town, On the Town, On the Waterfront, his Mass, and a range of other compositions, including three symphonies and many shorter chamber and solo works. Bernstein was the first conductor to give numerous television lectures on classical music, starting in 1954 and continuing until his death. He was a skilled pianist, often conducting piano concertos from the keyboard. As a composer he wrote in many styles encompassing symphonic and orchestral music, ballet, film and theatre music, choral works, opera, chamber music and pieces for the piano. Many of his works are regularly performed around the world, although none has matched the tremendous popular and critical success of West Side Story.

Pablo Sorozábal

(18 September 1897 – 26 December 1988) was a Spanish composer of zarzuelas, symphonic works, and the popular romanza, "No puede ser".

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