mercadante

Capodanno 2008 a PRAGA by I chep glorios !

Length: 8:39
Rating: ( ratings)
Views:
Author: camaun81

Tags: "repubblica amato Basilicata ceca" demuro giuseppe Irsina mercadante michele Montepeloso pasquale Pelosofolk Praga rizzi tonio viaggi

Quattro "chep glorios" per il Capodanno 2008 a PRAGA !!!

BRINDISI from La Traviata by Giuseppe Verdi - Italian Bel Canto live

Length: 3:56
Rating: 5.00 (1 ratings)
Views:
Author: 235binelli

Tags: bel brindisi calici canto giuseppe italian la libiami lieti lyrycal music ne opera song traviata verdi

The Brindisi (Libiamo ne' lieti calici) executed by the Italian association IL BEL CANTO with the beautiful performance of the Soprano Lorella Tafuro as Violetta, the Tenor Vencenzo as Alfredo the choir Tripudium and the IL BEL CANTO orchestra during a concert in Maglie Italy. This duet takes part in the first act of the opera La Traviata, at Violetta's house, and it is sung by Alfredo and Violetta BRINDISI "Libiamo ne' lieti calisi" LA TRAVIATA Libiamo ne'lieti calici (Drinking Song) is the most famous duet from Verdi's La traviata, perhaps one of the most well known fragments of opera around the world, and an obligatory performance (as this opera itself) for any great tenor. The words were written by Francesco Maria Piave. Those who have performed it include Luciano Pavarotti, Giuseppe di Stefano, Plácido Domingo, José Carreras, Enrico Caruso, and many others. ASSOCIAZIONE IL BEL CANTO ITALY http://www.ilbelcanto.org/ The Maestro Canana and the "Associazione Il Bel Canto in Italy" offers lessons for beginners, Tenors, Baritono, Sopranos and Master Class and international Master Lyrical singing and Melodramatic culture and art conference LOOKING FOR PRIVATE LESSONS OR A CONFERENCE BY MAESTRO CANANA? call in Italy: +39- 333- 6371 644 at http://www.italianbusinessguide.com/ THE ITALIAN OPERA - IL BEL CANTO The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, Donizetti, Pacini, Mercadante and many others. Literally "beautiful singing", bel canto opera derives from the Italian stylistic singing school of the same name. Bel canto lines are typically florid and intricate, requiring supreme agility and pitch control. The bel canto era style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco. Verdi's operas resonated with the growing spirit of Italian nationalism in the post-Napoleonic era, and he quickly became an icon of the patriotic movement (although his own politics were perhaps not quite so radical). In the early 1850s, Verdi produced his three most popular operas: Rigoletto, Il trovatore and La traviata. But he continued to develop his style, composing perhaps the greatest French Grand opera, Don Carlos, and ending his career with two Shakespeare-inspired works, Otello and Falstaff, which reveal how far Italian opera had grown in sophistication since the early 19th century. After Verdi, the sentimental "realistic" melodrama of verismo appeared in Italy. This was a style introduced by Pietro Mascagni's Cavalleria Rusticana and Ruggiero Leoncavallo's Pagliacci that came virtually to dominate the world's opera stages with such popular works as Giacomo Puccini's La Boheme, Tosca, and Madama Butterfly. Later Italian composers, such as Berio and Nono, have experimented with modernism IL BEL CANTO LIRICO DI ITALIA L'Associazione "Il Bel Canto" programma le proprie attività concertistiche in Italia e nel mondo. Offriamo un ricco repertorio di Arie con i nostri tenori, soprani, baritoni e coro, opere liriche come Aida, Il Trovatore, Nabucco, Traviata, Ernani di Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia e Mosè di Rossini, La Carmen di Bizet, ed altre opere liriche che definiscono l'arte e cultura lirica Melodrammatica in Italia e nel mondo sotto la direzione del MAESTRO CONCERTATORE MARIO CANANA IL BEL CANTO LIRICO DI ITALIA La asociacion cultural "Il Bel Canto" programa sus actividades y conciertos en Italia y el mundo. Ofrece un rico repertorio de Arias con nuestros tenores, tenor, soprano, baritono e coro. Operas liricas como Aida, Il Trovatore, Nabucco, Traviata, Ernani de Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia y Mosè de Rossini, La Carmen di Bizet y otras operas liricas que definen el arte y cultura lirica Melodramatica en Italia y el mundo bajo la direccion del MAESTRO CONCERTATORE MARIO CANANA

spot rassegna n.2

Length: 1:17
Rating: ( ratings)
Views: 9
Author: pierodesantis

Tags: cabaret cerignola divertimento foggia mercadante rassegna sex spettacolo spiritoso teatro

spot rassegna cabaret 2009

Sciallo e valentina stella NUN TE PERDERE (c sciallo)

Length: 3:2
Rating: ( ratings)
Views: 5
Author: sciallo2002

Tags: canzone concerti cultura d'autore daniele musica napoletana pino sciallo teatro

DAL CONCERTO SI SCIALLO AL TEATRO MERCADANTE ...da lontano tour

Gioachino Rossini - Il pianto delle Muse in morte di Lord Byron - "Ahi! qual destin crude!" (William Matteuzzi)

Length: 6:1
Rating: 4.50 (2 ratings)
Views: 35' favoriteCount='1
Author: LindoroRossini

Tags: belcanto classical coloratura rossini

"Il pianto delle Muse in morte di Lord Byron" (1924) was, of course, a reaction on the part of Rossini to the death of the famed British poet, though, truth be told, it is not exactly among the maestro's masterpieces. Still, it speaks much of Rossini's abilities, as even this rather cold farewell is music of high competence and eloquently expressive: the writing for solo harp is delightful and evocative (redeploying a melody from "Maometto II" and forming a perfect base for the lament), the vocal writing for both the soloist (Apollo himself, sung by a tenor) and the mixed chorus (the refrains are interestingly built around the passing of lines from the women to the men) - fluent and graceful; and the ending is a particular highlight and highpoint of the piece, brilliantly contrasting the sighs of the singers and the harp's more life-affirming ornaments. The text, on the other hand, is so highly generalized that it could serve as the tears the Muses might shed for well nigh any poet and, in Rossinis setting, any poet would be very lucky to get it. William Matteuzzi here takes the part of Apollo and, some nasality aside, is very much up to the demands of the role. Hope you'll enjoy :)!

hulk 2

Length: 4:13
Rating: ( ratings)
Views: 26
Author: gman849

Tags: dante graham hulk matthew mercadante

Matthew, Graham and Dante Mercadante star in the hulk episode 2

Saverio Mercadante - Emma d'Antiochia - "Mi laciate!.. Empia donna!" (Nelly Miricioiu Maria Costanza Nocentini)

Length: 10:20
Rating: 4.00 (1 ratings)
Views: 14
Author: LindoroRossini

Tags: belcanto coloratura Mercadante

As if a taxing aria was not enough, Mercadante puts the duet between Emma and Adelia exactly at the end of the former's last solo. Adelia, furious about the news of Ruggiero's departure, caused by his love for Emma, bursts into the latter's room, finding the heroine lamenting the outcome of the whole affair and already experiencing the effect of the poison. The first section of the duet is an arresting scena that virtually defies all the idiom's of such duets: Adelia enters in a furiously ornamented verse, venting her anger at her would-be rival; Emma, however, does not get a complete repetition of the verse, instead Mercadante only uses a part of the verse, cut short by Emma's slowly dying breath, while the confrontation is rounded out in a genuinely affecting dialogue, as Adelia begins to take pity on the poor woman before her whose actions were not aimed at hurting anyone, especially the young Adelia. The second portion of the duet is given to a gently sorrowful duettino as both women express their compassion for one another. Interestingly, Mercadante does not tie the voice until the very end, so each of the heroines gets a full, uninterrupted and, thus, more truthful entrance. The ending is completely integrated into the preceding andante, in spite of its' "stretta-like" characteristics, especially evident in the brilliant coda (ending with the women trading a high B). One of the best and completely believable scenes for two women-rivals. Nelly Miricioiu is joined by Maria Costanza Nocentini in one of the work's most powerful scenes. Hope you'll enjoy :).

Saverio Mercadante - Emma d'Antiochia - "In quest'ora fatale e temuta" (Nelly Miricioiu)

Length: 6:35
Rating: 4.25 (4 ratings)
Views: 37
Author: LindoroRossini

Tags: belcanto coloratura Mercadante

After a heartbroken farewell with Ruggiero, as he leaves the country, Emma gets a superbly drawn out prayer brilliantly accompanied by cello and harp with meltingly beautiful use of the soprano voice as she prays for her lover's safe passing. One still does fell, as it is very much the case in the aria for Ruggiero, that there is truly no need for the piece dramatically, as its' contents might have been summed up in a dramatic recitative or in a one-part number, as in the present case, however, Mercadante is extremely careful not to overstretch the arias, making them much more immediate and, in effect, intimate, thus, in both cases, the cantabiles and the verses of the cabalettas are kept short, not overstated, bringing believability to the emotions depicted. The scene is finished with a frantic cabaletta as Emma resolves to commit suicide, while outside a triumphant chorus, celebrating Adelia's virtue, is slowly growing in volume. Nelly Miricioiu is dramatically responsive to a role that might be considered rather light-weight narratively turning in a truly stunning rendition. Hope you'll enjoy :)!

Saverio Mercadante - Emma d'Antiochia - "Io soffrir mortale in terra" (Bruce Ford Colin Lee)

Length: 7:27
Rating: 4.00 (1 ratings)
Views: 60' favoriteCount='1
Author: LindoroRossini

Tags: belcanto coloratura Mercadante

Although "Emma d'Antiochia" was written at the height of Mercadante's career, had a libretto by the prolific Felice Romani and was written specifically for super-diva Giuditta Pasta (along with almost-as-popular star Domenico Donzelli and the soon to be super-diva Eugenia Tadolini), the opera was a disaster at its' premiere at La Fenice, March 8, 1834. Pasta was ill, but "graciously consented to appear" in a highly truncated version of the opera. But at the third performance Pasta was back in form and the opera was awarded a sensational reception. It was performed almost annually though the mid-1840s, disappeared briefly, had a few revivals and was last performed in Malta as late as in 1861. The plot is a typically heavy-duty, angst-ridden early-19th-century Italian opera, with a nice pair of suicides and a tragically unrequited love. Oddly, it has no villains. We are in 12th-century Tyre, and Ruggiero (tenor) is about to marry his uncle Corrado's (baritone) daughter, Adelia (soprano). Adelia knows that Ruggiero once had another love and that somewhere in his heart he still pines for her. Corrado returns victorious from battle against the Saracens, and with him he brings a new wife, Princess Emma (soprano), you guessed it, Ruggiero's former love (she brings with her a male slave/confidante, Aladino, another tenor). As soon as they see each other they realize the flame still burns, Ruggiero marries Adelia anyway, though suspicions are aroused. Corrado discovers the messy situation and exiles Ruggiero, who leaves guiltily, sadly and willingly in the middle of the last act. Adelia forgives and understands Emma, but the latter takes poison as her pal Aladino stabs himself and everyone is sad and horrified. Thus, we are faced with a very ironic work of good, well-meaning people whose actions lead to the downfall of all. The score, as usual with Mercadante's mature works, is fascinating, with some very attractive music for the trio of tenor, soprano and baritone, lots of highlighted instruments before and during arias and some truly stunning ensemble work (though the lovers' duets are actually rather flat). I'm uploading only three pieces which I would name as the most successful in the work: Ruggiero's cavatina, Emma's final aria and the duet with Adelia that directly follows it. In his "cavatina" (as he had made his proper appearance in the introduction), Ruggiero basically recounts his undying love for Emma under the power of which he stays, even in spite of his budding feelings for Adelia. The aria is classically built, starting with a richly dramatic cantabile with an especially romantic string accompaniment as Ruggiero accounts how he lost Emma during a particularly tremendous battle. The tempo di mezzo, building from this section and using the same thematic material, is unusual as it constitutes a long dialogue between Ruggiero and Aladino (himself in love with Emma) as the former inquire about the disposition of the latter's mistress towards her former lover. A brilliant cabaletta (in which Ruggiero prepares himself for his imminent meeting with Emma) finishing with an absolutely exciting coda, involving the tenors trading a high C, caps the scene, bringing it to an exciting finish. The always characterful Bruce Ford, Opera Rara's star tenor, is joined by Colin Lee in the small but musically challenging role of Aladino. Hope you'll enjoy :).

The Sound Of Silence Trailer

Length: 3:45
Rating: ( ratings)
Views: 3
Author: Mastermarvin290

Tags: "292 "Fire "Marvin "The Film's" Giordano" Ice." Of Silence" Sound

Starring David Rogers, Steven Mercadante Marvin Giordano. "The Sound Of Silence" pits a an epic story of a man named Lawrence Dean whom just found out a girl close to him was killed at a party. Though he tries to get past this it becomes a struggle as Lawrence begin's to lose control of himself. Witness the journey as he searches to find something he has lost, "the sound". This film will hit youtube.com in February of 2009. It's a trip you have to take!