Donizetti. Roberto Devereux. Leyla Gencer. Piero Cappuccilli. Anna Maria Rota. Ruggero Bondino. Gabriele De Julis. Silvano Pagliuca. Dir.: Mario Rossi.
http://narod2.yandex.ru/disk/start/27.dl2sd-narod.yandex.ru/12079868001/h971ed48ddc687b7327e6f465dd301fe8/robdev-ros64.rar
http://download7.files.mail.ru/TUU5F2/ac8c6f761caed8f313ba1efcc6e0671b/robdev-ros64.rar

Password : intocheese

Gencer con Serain

Roberto Devereux (or Roberto Devereux, ossia Il conte di Essex [Roberto Devereux, or the Earl of Essex]) is a tragedia lirica, or tragic opera, by Gaetano Donizetti. Salvadore Cammarano wrote the libretto after François Ancelot‘s tragedy Elisabeth d’Angleterre, although Devereux was the subject of at least two other French plays: Le Comte d’Essex by Thomas Corneille and Le Comte d’Essex by La Calprenede.

The opera is loosely based on the life of Robert Devereux, 2nd Earl of Essex, an influential member of the court of Queen Elizabeth I of England. The plot of Roberto Devereux was hardly original, mainly derived from Felice Romani‘s libretto Il Conte d’Essex of 1833, originally set by Saverio Mercadante. Romani’s widow charged Cammarano with plagiarism, although the practice of stealing plots was very common between rival Italian opera houses.

It is one of a number of operas by Donizetti which deal with the Tudor period in English history and include Anna Bolena (named for Henry VIII’s second wife, Anne Boleyn), Maria Stuarda (named for Mary, Queen of Scots) and Il castello di Kenilworth. The lead female characters of the operas Anna Bolena, Maria Stuarda, and Roberto Devereux are often referred to as the “Three Donizetti Queens.”

Aporte de Wolf:
Dubois: Le Paradis perdu.2011..Montpellier.Chantal Santon.Mathias Vidal.Jennifer Borghi. Alain Buet. Solistes des Siècles.Les Cris de Paris. Dir.:Geoffroy Jourdain
http://www.mediafire.com/?s5og2lo2mo7ps

Théodore Dubois, fils d’un instituteur de la région de Reims, est né le 24 août 1837 à Rosnay (51). Il effectue ses études musicales au Conservatoire National Supérieur de Musique de Paris dans les classes de Marmontel, Ambroise Thomas, Bazin et François Benoist, et obtient notamment un 1er Prix d’orgue en 1859. Prix de Rome en 1861, professeur d’harmonie au CNSM en 1871, il est ensuite professeur de composition (1891) dans ce même établissement, puis en assume la direction à partir de 1896, succédant là à son maître Ambroise Thomas. Il est élu à l’Académie des Beaux Arts en 1894, au fauteuil de Gounod. Il avait épousé la fille du chef d’orchestre de l’ancien Théâtre de la Renaissance.

Parallèlement à ses fonctions d’enseignant Théodore Dubois est organiste accompagnateur des Invalides à Paris, avant de succéder en 1858 comme maître de chapelle de Sainte-Clotilde à César Franck lui-même, nommé au grand orgue de cette église. En 1868 il est nommé maître de chapelle de l’église de la Madeleine. Une dizaine d’années plus tard (1877) Théodore Dubois recueille la succession de Saint-Saëns au grand orgue de cette même église, laissant son poste de maître de chapelle à Gabriel Fauré. En 1896, il quitte définitivement la Madeleine pour se consacrer à la direction du CNSM ; c’est à nouveau Fauré qui lui succède à l’orgue. Le 11 novembre 1924 Dubois s’éteint dans son appartement parisien du boulevard Pereire.

Théodore Dubois a laissé une œuvre abondante en partie méconnue : 3 symphonies, un oratorio Le paradis perdu, plusieurs scènes lyriques (L’Enlèvement de Proserpine, Les Vivants et les Morts, Le Baptême de Clovis, Notre Dame de la mer), des concertos pour piano, pour violon, des quintettes, quatuor, trio, des sonates pour instruments divers, des chœurs avec ou sans accompagnement, des volumes de mélodies, des quantités de pièces pour piano parmi lesquelles ses charmants Poèmes Virgiliens, des pièces théâtrales (La Guzla et l’Emir, Le Pain bis, La Farandole, Xavière…) et un grand nombre de pièces de musique religieuse, éditées chez Heugel : une douzaine de Messes, dont une Messe solennelle de Saint-Rémi pour soli et chœurs à quatre voix, avec orgue et orchestre, une Messe Pontificale pour soli et chœurs à quatre voix, avec orgue et orchestre, une Messe brève en fa (dans le style Palestrinien) à quatre voix, une Messe pour les morts pour soli et chœurs, avec orgue et orchestre…, une grande quantité de motets (Heugel), parmi lesquels plusieurs Ave verum, O Salutaris, Panis angelicus, Tantum ergo, Ave Maria, Sub tuum, Pie Jesu, un Cantate Domino en sol majeur (extrait du Psaume 97) pour chœur et deux orgues, un Adeste fideles pour solo et chœur, avec violon ou violoncelle et harpe, un Salut à 3 voix, un Sanctus en sol majeur, pour chœur et deux orgues.

Donizetti. La Favorita. 1989. Alfonso – Ugo Gavanelli. Leonora – Agnes Baltsa . Fernando – Alfredo Kraus .Baldassare – Laszlo Polgar .Don Gasparo – Peter Jelosits Dir.: Giuseppe Patane http://www.mediafire.com/?6imiy93k22x8yy6

Chantal Santon

Placido Domingo en recital. 2010. Video. 

Junto a Nino Machaidze, Nino Surguladze, Paata Burchuladze y otros.

https://rapidshare.com/files/3360634526/Domingo_in_Batumi.m4v.zip.001
https://rapidshare.com/files/497264438/Domingo_in_Batumi.m4v.zip.002
https://rapidshare.com/files/2076402123/Domingo_in_Batumi.m4v.zip.003
https://rapidshare.com/files/3206231371/Domingo_in_Batumi.m4v.zip.004
https://rapidshare.com/files/57443003/Domingo_in_Batumi.m4v.zip.005
https://rapidshare.com/files/2113432708/Domingo_in_Batumi.m4v.zip.006
https://rapidshare.com/files/4099734874/Domingo_in_Batumi.m4v.zip.007
https://rapidshare.com/files/2216009858/Domingo_in_Batumi.m4v.zip.008
https://rapidshare.com/files/2585605054/Domingo_in_Batumi.m4v.zip.009
https://rapidshare.com/files/1137846384/Domingo_in_Batumi.m4v.zip.010

Donizetti. Alahor en Granada. 1998. Granada.Alahor – Simone Alaimo . Zobeida – Patrizia Pace . Hassem – Vivica Genaux .Alamar – Juan Diego Florez . Sulima – Soraya Chaves . Ismaele – Ruben Amoretti . Dir.: Josep Pons

En las bibliotecas del mundo hay muchas óperas de óptimo nivel no descubiertas por distintos motivos. Una de ellas es Alahor en Granada.

No se trata de una rareza destinada a los oídos de los melómanos más exquisitos, sino de una obra ambiciosa que no queda en mal lugar en la producción de Donizetti, uno de los grandes autores de ópera del siglo XIX. Cuatro obras de Donizetti han superado la barrera del tiempo y están incluidas en el repertorio internacional: Elisir d”amore, Lucia di Lammermoor, La favorita y Don Pasquale. Alahor en Granada fue estrenada en Nápoles en 1826. Cuatro años después subió al escenario en Palermo. Luego, cayó en el olvido. Un rey musulmán Pelucchi, que revisó la partitura, atribuyó este olvido a razones sociológicas. “Alahor en Granada no tuvo una acogida espectacular en 1826. La música era buena, pero el libreto era difícil de aceptar para la Italia de la época. El protagonista es un rey musulmán que se presenta como un rey pacífico”, indicó el profesor. La sociedad de Nápoles, donde se estrenó la obra, no veía con buenos ojos, según Pelucchi, la exaltación de un musulmán. Los árabes eran por excelencia el vecino con el que se mantienen unas tormentosas relaciones. Sternberg, que es propietario de una copia de la partitura, relató su historia. Fue descubierta en los archivos de la Orquesta Sinfónica de Boston, donde había estado olvidada entre miles de papeles y manuscritos. Luego, la partitura fue entregada a la Biblioteca Pública de Boston.

Leo Nucci. Recital de bell canto.
1. I Puritani, opera: Act 1. Or dove fuggo io mai?… Ah! per sempre io ti perdei . 2. Guillaume Tell (William Tell), opera: Act 3. Resta immobile . 3. Il Pirata, opera: Act 1. Sì, vincemmo, e il pregio io sento
4. I Vespri siciliani, opera (Les vêpres siciliennes): Act 3. In braccio alle dovizie . 5. Beatrice di Tenda, opera: Act 2. Rimorso in lei?… Qui m’accolse oppresso, errante
6. Poliuto, opera: Act 1. Di tui beltade immagine . 7. Le duc d’Albe (Il duca d’Alba), opera: Nei miei superbi gaudi
8. Dom Sebastien, roi du Portugal, opera: Act 3. O Lisbona, alfin ti miro . 9. La favorita, opera: Act 2. Me de’ malvagi invan… Vien, Leonora, a’ piedi tuoi
http://www.mediafire.com/?2inay35iajkwtib

Barbara Boney. Recital
01. Dowland / Come Again . 02. Purcell / Dido and Aeneas / Dido’s Lament . 03. Bach / Kaffekantate / Heute Noch, Lieber Vater . 04. Pergolesi / Stabat Mater . 05. Mozart / Exsultate jubilate / Alleluia [00:02:35]
06. Mozart / Vespers / Laudate Dominum . 07. Mozart / Le nozze di Figaro / Deh, Vieni, Non Tardar . 08. Mozart / Die Zauberfl?te / Ach, Ich Fuhl’s . 09. Donizetti / L’elisir d’amore / Chiedi All’ura Lusinghiera .
10. Schumann / Mondnacht . 11. Grieg / Solveigs Sang . 12. Sibelius / Var det en Drom?. 13. Sibelius / Flickan kom ifran sin alsklings Mote . 14. Richard Strauss / Morgen . 15. Berg / Die Nachtigall . 16. Orff / Carmina Burana / In Trutina . 17. Strauss / Der rosenkavalier / Presentation of the Rose . 18. Lloyd Webber / Requiem / Pie Jesu. 19. Previn / Vocalise

Tito Gobbi. Recital

Donizetti – Il fortunato inganno – 1998. Lattanzio Lattughelli – Domenico Colaianni . Aurelia – Stefania Donzelli . Donna Fulgenzia – Magali Damonte . Il Colonello Franceschetti – Nicolas Rivenq . Il tenente Eduardo – Saverio Fiore . Il signor Bequadro – Luciano Miotto . Vulcano – Massimiliano Chiarolla  . Eugenia – Eun-Joo Lee . Fiordelisa – Madia Todisco . Biscaglino – Madia Todisco . Ascanio – Mario Nistic. Dir.: Arnold Bosman
http://www.mediafire.com/?fau6ydbp1dui7ya

Il fortunato inganno è un dramma giocoso per musica in due Atti con dialoghi parlati, messo in musica da Gaetano Donizetti nel 1823 su libretto di Andrea Leone Tottola, tratto dal Teatro alla moda (Vernezia, 1720) di Benedetto Marcello e dal Teatro comico (Venezia, 1720) di Carlo Goldoni. Il fortunato inganno venne rappresentato a Napoli, nel Teatro Nuovo, il 3 settembre 1823.

Solisti della prima rappresentazione al Teatro Nuovo di Napoli, il 3 settembre 1823:
Lattanzio Lattrughelli – buffo –  primo buffo e capo di una compagnia di cantanti (Carlo Casaccia)
Aurelia – soprano – sua moglie e prima attrice (Teresa Melas)
Fulgenzia del Folletto – soprano – seconda attrice (Francesca Cecherini)
Fiordelisa – mezzosoprano – attrice (Clementina Grossi)
il Colonnello – basso – cavalier Ortensio Franceschetti (Giuseppe Fioravanti)
Edoardo – tenore – il tenente, suo nipote (Marco Venier)
il signor Bequadro – basso – maestro di cappella impiegato presso la compagnia Lattrughelli (Carlo Moncada)
Vulcano – tenore – poeta della indicata compagnia (Raffaele Casaccia)
Biscaglino – basso – basso della compagnia (Giuseppe Papi)
Ascanio – basso – avvisatore della compagnia e cameriere di Lattanzio (Raffaele Sarti)

La trama:Atto I.L’azione è a Roma.
Sala in casa di Lattanzio, e destinata alle prove della compagnia. Il maestro Bequadro è al cembalo, e fa sentire a Vulcano la musica di un’Aria della sua opera; indi Fulgenzia e Biscaglino; infine Ascanio co’ coristi

Il Signor Bequadro è maestro di cappella a Roma. Insieme a Vulcano, poeta della compagnia di cantanti di Lattanzio Lattrughelli, sta provando una nuova opera. Aurelia, consorte di Lattanzio, è naturalmente prima attrice. Ella si finge contessa, incoraggiando la corte del colonnello Ortensio Franceschetti, per favorire l’amore tra la nipote Eugenia ed Edoardo, nipote del colonnello.

Atto II.Il colonnello è disponibile a sposare la finta contessa, che gli impone il matrimonio di Eugenia ed Edoardo. Ottenuta la promessa, Aurelia confessa ad Ortensio d’essere la moglie di Lattanzio. Il colonnello s’infuria, poi si calma e concede le nozze al nipote, festeggiando assieme alla compagnia.

Verdi. Requiem. Video. 2011. Londres Marina Poplavskaya.Mariana Pentcheva.Joseph Calleja. Ferruccio Furlanetto. Orq. y coro BBC. Dir.: Semyon Bychkov
https://rapidshare. com/files/ 847101847/ BBC.Proms. 2011.Prom. 13.avi.001
https://rapidshare. com/files/ 3662386095/ BBC.Proms. 2011.Prom. 13.avi.002

 Wagner. Der Fliegende Holländer.1952,Berlin. Josef Herrmann (Holländer).Helene Werth (Senta).Gottlob Frick (Daland).Ludwig Suthaus (Erik).Emmi Hagemann (Mary).Dir.: F. Fricsay
https://rapidshare.com/files/1769095995/Hollaender_-_Berlin_1952.rar

Luciano Pavarotti. Recital Donizetti. 01 – Quanto F bella. 02 – Caro elisir_ sei mio_ … .03 – Chi F mai quel matto …Lallarallara …04 – Esulti pur la barbara .05 – Una furtiva lagrima.06 – Hai nelle giostre.07 – Questa imago …Ah_ rimiro.08 – Tombe degli avi miei …09 – Fra poco a me recovero … 10 – Oh meschina_ … .11 – Tu che a Dio spiegasti l’ali.12 – Ah_ mes amis, quel jour de fOte_.13 – +coutez-moi… Pour me rapprocher de Marie. 14 – Linda_ Linda_ … Da quel d8 che t’incontrai .15 – Una vergine, un’angel di Dio.16 – Si, che un solo accento.17 – Favorita del re_ … Spirto gentil
http://depositfiles.com/files/2329853
http://depositfiles.com/files/2329931

Placido Domingo. Recital .2011 Junto a Ana Maria Martinez
https://rapidshare. com/files/ 1601773181/ PDomingo_ AMMartinez_ CK11_radio. zip

Rossini. Guillermo Tell. 2011.Proms Londres. Michele Pertusi (W. Tell). Malyn Byström (Mathilde). John Osborn . Matthew Rose. Nicolas Courjal. Frederic Caton. Patricia Bardon. Elena Xanthoudakis. Davide Malvestio. Mark Stone. Orq. Sta. Cecilia Roma. Dir. A. Pappano
http://www.rapidshare.com/files/531116626/P2011001GUILL.zip

Donizetti. Maria Stuarda. 2010.Serena Farnoccia(Maria Stuarda). Alexandrina Pendatchanska (Elisabetta). Eric Cutler (Roberto). Weston Hurt. Patrick Carfizziu. Ileana Montalbetti.Dir.: Antony Walker

Wagner. Rheingold.1973. ENO (en ingles) Norman Bailey (Wotan). Derek Hammons Stroud (Alberich). Emile Belcourt (Loge). Anne Howard (Fricka). Kenneth Woolam (Froh). Norman Welsby (Donner). Lois McDonall (Freia). Gregory Dempsey (Mime). Anne Collins (Erda). Harold Brackburn (Fasolt). Clifford Grant (Fafner). Ninfas del Rhin: Audrey Gunn, Sarah Walker, Maureen Morelle. Dieginald Goodall

Rossini. La Dona del Lago. 2005. Lisboa. Rockwell Blake (Uberto).Laura Polverelli (Elena).  Silvia Tro Santafè (Malcolm).  Robert McPherson (Rodrigo). Nicola Ulivieri (Douglas ). Elvira Ferreira (Albina). Mario Joao Alves. Dir.: Riccardo Frizza.
https://www.rapidshare.com/files/3779882239/Donna_del_Lago_Lisboa_01.03.2005.7z.001
https://www.rapidshare.com/files/3787327071/Donna_del_Lago_Lisboa_01.03.2005.7z.002
https://www.rapidshare.com/files/2373851698/Donna_del_Lago_Lisboa_01.03.2005.7z.003

Aporte de Evgeni (St. Petesburgo):
Mercadante. Orazi ed I Curiazi. 1975. Londres.Janet Price (Camilla). Richard Greager (Curiazo). Christiabn du Plessis (Orazio). Lynn Channing (Sabina). Malcolm King (Orazio – anciano-).Bonaventura Bottone. Dir. K. Montgomery
http://www.megaupload.com/?d=GSPCAI9M
http://www.megaupload.com/?d=NPPXRBF2
http://www.megaupload.com/?d=IHMYPMAE

Janet Price

Orazi e Curiazi (The Horatii and the Curiatii) is an opera by the Italian composer Saverio Mercadante. It takes the form of a tragedia lirica in three acts. The libretto, by Salvadore Cammarano is based on the Roman legend of the fight between the Horatii and the Curiatii. It was first performed at the Teatro San Carlo, Naples on 10 November 1846.

Montserrat Caballe. En Recital. Arias de Rossini, Donizetti y Verdi.

Aporte de Elbio (Sao Pablo):
Offenbach: Orfeo en los Infiernos. 1960. Londres.(en ingles).Kevin Miller (Orfeo). June Bronhill (Euridice). Jon Weaving. Eric Shilling . Anna Pollack. Alan Crofoot. Suzanne Steele. Margaret Nisbett. Irene Carpenter. Dir.: Alexander Faris.
http://www.megaupload.com/?d=BZJWEQWV
http://www.megaupload.com/?d=T14CJL9L

Puccini. M. Butterfly.1948  Coba Wackers . Ingeborg Lasser (Suzuki) Frank Fehringer (Pinkerton).  Günther Ambrosius (Sharples). Oskar Wittazschek (Goro). Dir.: Kurt Schröder.

Donizetti. Misa da requiem. Tiziana K. Sojat (sopr). Jaroslava Horska Maxova (mezzo). Vittorio Giammarrusco (ten). Zdenek Hlavka (bar). Marcel Rosca (bajo). Virtuosi di Praga. Dir. Alexander Rahbari. Coro de Cámara de Praga.
https://rapidshare.com/files/498278809/Donizetti_-_Requiem.rar

Massenet.Werther. 1955.Milan. Juan Oncina (Werther).Leyla Gencer (Charlotte).Sandra Ballinari (Sophie).Enzo Sordello (Albert).Marcello Cortis (Le Bailli).Mario Carlin (Schmidt).Nestore Catalani (Johann).Elsa Alberti (Katchen) Dir.: Alfredo Simonetto
https://rapidshare.com/files/2458547062/Werther_Rai_Milano_1955.zip

Puccini. Boheme. 1985. Montreal. Video. Veronika Kincses. Dano Raffanti. Theodore Baerg. Maria Rosa Nazarlo. El resto del elenco puede verse en los títulos. Dir.: Raffi Arminian.
https://rapidshare.com/files/3932865294/ La_Boheme- Act_1-L_Opera_de_Montreal_1985.mpg.001
https://rapidshare.com/files/4134642022/ La_Boheme- Act_1-L_Opera_de_Montreal_1985.mpg.002
https://rapidshare.com/files/3456873007/ La_Boheme- Act_1-L_Opera_de_Montreal_1985.mpg.003
https://rapidshare.com/files/3071354600/ La_Boheme- Act_1-L_Opera_de_Montreal_1985.mpg.004
https://rapidshare.com/files/3659359755/ La_Boheme- Act_1-L_Opera_de_Montreal_1985.mpg.005
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https://rapidshare.com/files/3251406282/ La_Boheme- Act_1-L_Opera_de_Montreal_1985.mpg.007
https://rapidshare.com/files/3549780333/ La_Boheme- Act_1-L_Opera_de_Montreal_1985.mpg.008
https://rapidshare.com/files/1954548918/ La_Boheme- Act_1-L_Opera_de_Montreal_1985.mpg.009
https://rapidshare.com/files/1373405345/ La_Boheme- Act_2-L_Opera_de_Montreal_1985.mpg.001
https://rapidshare.com/files/1636064365/ La_Boheme- Act_2-L_Opera_de_Montreal_1985.mpg.002
https://rapidshare.com/files/1253349872/ La_Boheme- Act_2-L_Opera_de_Montreal_1985.mpg.003
https://rapidshare.com/files/3217786070/ La_Boheme- Act_2-L_Opera_de_Montreal_1985.mpg.004
https://rapidshare.com/files/431086301/ La_Boheme- Act_2-L_Opera_de_Montreal_1985.mpg.005
https://rapidshare.com/files/1884897432/ La_Boheme- Act_3-L_Opera_de_Montreal_1985.mpg.001
https://rapidshare.com/files/1031912476/ La_Boheme- Act_3-L_Opera_de_Montreal_1985.mpg.002
https://rapidshare.com/files/3096301533/ La_Boheme- Act_3-L_Opera_de_Montreal_1985.mpg.003
https://rapidshare.com/files/3704624928/ La_Boheme- Act_3-L_Opera_de_Montreal_1985.mpg.004
https://rapidshare.com/files/2557560227/ La_Boheme- Act_3-L_Opera_de_Montreal_1985.mpg.005
https://rapidshare.com/files/3685501348/ La_Boheme- Act_3-L_Opera_de_Montreal_1985.mpg.006
https://rapidshare.com/files/2904493255/ La_Boheme- Act_4-L_Opera_de_Montreal_1985.mpg.001
https://rapidshare.com/files/2811752421/ La_Boheme- Act_4-L_Opera_de_Montreal_1985.mpg.002
https://rapidshare.com/files/3985677803/ La_Boheme- Act_4-L_Opera_de_Montreal_1985.mpg.003
https://rapidshare.com/files/2893800059/ La_Boheme- Act_4-L_Opera_de_Montreal_1985.mpg.004
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https://rapidshare.com/files/1213230494/La_Boheme- Act_4-L_Opera_de_Montreal_1985.mpg.007
https://rapidshare.com/files/555282532/La_Boheme- Act_4-L_Opera_ de_Montreal_1985.mpg.008

Aporte de Wolf:
Verdi. Traviata. 1974. Londres. Ileana Cotrubas. Jose Carreras. Victor Braun. Gillian Knight. William Elvin. Dir.: John Pritchard.

Floyd. Susannah. 2002. Chicago. Opera en 2 actos. Thomas Potter. Erin Wood. Buffy Baggott. Dorothy Byme. Susan Nicelly. Michael Devlin. S. Ramey. M. Lord. W. Pauley. Dir.: J. Rudel
https://rapidshare. com/files/ 2808701577/ Susannah_ 01.mp3
https://rapidshare. com/files/ 791257210/ Susannah_ 02.mp3

Susannah is an opera in two acts by American composer Carlisle Floyd, who wrote the libretto and music while a member of the piano faculty at Florida State University. Floyd adapted the story from the Apocryphal tale of Susannah and the Elders, though the latter story has a more positive ending. The story focuses on 18-year-old Susannah Polk, an innocent girl who is targeted as a sinner in the small mountain town of New Hope Valley, in the Southern American state of Tennessee. Influenced by the Elders and Elders’ Wives, traveling preacher Olin Blitch and the town push her away, leading to tragedy. After Susannah refuses to repent at Blitch’s revival meeting, Blitch comes to see Susannah on her property. Though he planned to continue asking her to repent, he ends up pressuring her into sex. Blitch is very remorseful after this and tries to persuade the townspeople to forgive her. They refuse, and Susannah refuses to forgive him. Susannah’s brother Sam returns home, kills Blitch and runs away. The townspeople try to force Susannah to leave, but she points her gun at them and they leave, except for her former friend Little Bat, whom she pretends to try to seduce, but she pushes him away also.

The opera was awarded the New York Music Critics Circle Award for Best New Opera in 1956 and was chosen to represent American music and culture at the World’s Fair at Brussels in 1958, with a production (by Frank Corsaro) that featured Phyllis Curtin and Norman Treigle.

Susannah is one of the most performed American operas, second to Porgy and Bess..

It has been speculated that the opera was inspired by McCarthyism, a period of intense fear of communism in America during the early 1950s. The opera also contains many feminist themes that had not been widely explored in popular culture at the time of the opera’s writing. Floyd has claimed that this opera, like his other operas, was meant to be different from a traditional opera.

The music is largely characterized by Appalachian folk melodies. Also included are some Protestant hymns and some traditional classical music. A particularly prominent part of the opera is Susannah’s soaring and melancholy aria in Act II, “The Trees on the Mountain”, which is similar to Appalachian folk tunes but in fact Floyd’s own composition.

Richard Strauss. Capriccio. 2011. Met. Video. Renee Fleming. Sarah Connolly. Joseph Kaiser. Bernard Fich. Morten Frank Larsen. Russel Braun. Peter Rose. Dir. Andrew Davis.

Aporte de Paul (N. York):
Janacek. Jenufa. 2003. Paris. Karita Mattila (Jenufa). Rosalind Plowrigtht (Kostelnicka). Stefan Margita (Laca Klemen). Gordon Gietz. Menai Davies. Ivan Kusnjer. Rene Shirrer. Galina KIuklina. Dir.: Sylvain Cambreling.

Aporte de Mariana (Barcelona):
Pacini: Saffo. 1981. Adelaida Negri. Pietro Visconti. Gabriele Floresta. Mirella Paruto. E. Ricciardelo Dir.: Carlo Franci.

By early 1835 Giovanni Pacini had written almost fifty operas during the course of a career launched in 1813. He was tired and he was discouraged. Not only had his earlier works been overshadowed by the force of Rossini’s musical personality, but even after the departure of the Pesarese from Italy in 1823, Pacini’s star did not shine brighter. In his fascinating Memoirs, the composer examined these years and acknowledged his own limitations. Though the first performances of his Irene, o L’assedio di Messina (Naples, Teatro San Carlo, 30 November 1833) were largely rescued by the singers, Pacini knew the creative vein he had been mining was empty.

In June 1840 Pacini, at home in Lucca, received an offer from the Teatro San Carlo of Naples to write a new opera to a text by Salvatore Cammarano. Saffo was to be the first of five collaborations between them. Cammarano sent the poetry of the first act together with an outline of the whole, and Pacini set to work at once.

Saffo had its premiere at the Teatro San Carlo on 29 November 1840. It was an outstanding success, judged universally to be Pacini’s masterpiece. “In the autumn of 1840 I was therefore baptized by public opinion no longer as the composer of facile cabalettas, but rather of elaborated works and carefully meditated compositions.” He claimed to have composed Saffo in twenty-eight days and created (by which he surely meant “sketched”) the final scene in only two hours. But Saffo had been in his thoughts since June and had benefitted both from the preceding years of reflection and from Pacini’s efforts to find a characteristic color for this setting of a Greek legend. It would be fascinating to analyze Saffo with Pacini’s statement about its creation in mind.

Mozart: Die Zauberflote. 2011.  Michael Schade (Tamino). Isabel Bayrakdarian (Pamina). Rodion Pogossov (Papageno). Lisa Di Maria (Papagena). Aline Kutan( Reina de la Noche). John Easterlin( Monostatos). Mikhail Petrenko (Sarastro). Damas: Betty Waynne Allison, Wallis Giunta y Lauren Segal. Dir.: Johannes Debus.