Bella Italia

Queensland Symphony Orchestra https://qso.com.au/

Brisbane, Australia
  • Conductor Giacomo Sagripanti
  • October 2016
    20
    Thursday
    23:54
Find out more about the Program

Bella Italia

Program

Press & Reviews

FoggiaZon
Fabrizio Simone
Jessica Pratt e l’OFB enchant the GiordanoTheatre
This review refers to Gala Lirica Sinfonico at Orchestra Filarmonica di Benevento (December 2016).
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.

Excerpts

O luce di quest'anima

taken from Linda di Chamounix by Gaetano Donizetti
Lyrics
Ah! tardai troppo, e al nostro favorito convegno io non trovai il mio diletto Carlo; e chi sa mai quanto egli avrà sofferto! Ma non al par di me! Pegno d'amore questi fior mi lasciò! tenero core! E per quel core io l'amo, unico di lui bene. Poveri entrambi siamo, viviam d'amor, di speme; pittore ignoto ancora egli s'innalzerà coi suoi talenti! Sarà mio sposo allora. Oh noi contenti! O luce di quest'anima, delizia, amore e vita, la nostra sorte unita, in terra, in ciel sarà. Deh, vieni a me, riposati su questo cor che t'ama, che te sospira e brama, che per te sol vivrà.

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!

Il dolce suono mi colpì di sua voce

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.

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

Parigi, o cara

taken from La Traviata by Giuseppe Verdi
Synopsis
Not available in English
[Atto III, scena 5] Alfredo finalmente raggiunge Violetta; i due innamorati che il destino ha diviso possono riabbracciarsi e sperare di ricominciare la loro vita insieme proprio da dove è stata interrotta: lasciare Parigi, tornare in campagna, dove la salute di Violetta rifiorirà. Speranza vana, perché ormai la malattia è a uno stadio troppo avanzato per sperare in una guarigione.
Lyrics
Parigi, o cara, noi lasceremo, la vita uniti trascorreremo. De’ corsi affanni compenso avrai, la tua salute rifiorirà…

È strano! È strano!... Ah forse lui... Sempre libera

taken from La Traviata by Giuseppe Verdi
Lyrics
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. Oh, gioia ch'io non conobbi esser amata amando! E sdegnarla poss'io per l'aride follie dei 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. 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 ne' vortici perir! Gioir'! Sempre libera degg'io folleggiare 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 Follie! Follie delirio vano e' questo! Povera donna, sola, abbandonata in questo popoloso deserto che appellano Parigi che spero or' piu'? che far degg'io! Gioire! Di volutta' nei vortici perire. Sempre libera degg'io folleggiare 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

La donna è mobile

taken from Rigoletto by Giuseppe Verdi
Not available in English
Uno dei brani operistici più popolari, grazie alla sua estrema orecchiabilità e al suo accompagnamento danzante. Si racconta che Verdi ne avesse proibito la diffusione prima dell'andata in scena dell'opera, al Teatro La Fenice di Venezia, per non rovinarne l'effetto.
Synopsis
Not available in English
La donna è mobile è l'aria che il Duca di Mantova (tenore) intona nel terzo ed ultimo atto di Rigoletto di Giuseppe Verdi (1851).
Lyrics
La donna è mobile Qual piuma al vento, Muta d'accento - e di pensiero. Sempre un amabile, Leggiadro viso, In pianto o in riso, - è menzognero. È sempre misero Chi a lei s'affida, Chi le confida - mal cauto il core! Pur mai non sentesi Felice appieno Chi su quel seno - non liba amore!

Signor nè principe, è il sol dell'anima

taken from Rigoletto by Giuseppe Verdi

Prelude to Act III

taken from La Traviata by Giuseppe Verdi

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.

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.

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