Theresia Orchestra, Alessandro De Marchi – Domenico Cimarosa: Le Astuzie Femminili (2024) [FLAC 24 bit, 96 kHz]

Theresia Orchestra, Alessandro De Marchi - Domenico Cimarosa: Le Astuzie Femminili (2024) [FLAC 24 bit, 96 kHz] Download

Artist: Theresia Orchestra, Alessandro De Marchi
Album: Domenico Cimarosa: Le Astuzie Femminili
Genre: Classical, Opera
Release Date: 2024
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 02:38:24
Total Tracks: 39
Total Size: 2,87 GB

Tracklist:

1-1. Theresia Orchestra – Atto primo 1. Ouverture (04:12)
1-2. Theresia Orchestra – 2. No. 1 Introduzione: Io ho già letto … (03:39)
1-3. Theresia Orchestra – 3. Recitativo dopo Introduzione: O cospeto di Bacco (02:07)
1-4. Theresia Orchestra – 4. No. 2 Recitativo e Duetto: Ecco adesso finita ogni lusinga (08:59)
1-5. Theresia Orchestra – 5. No. 3 Cavatina Don Giampaolo: So curioso di vedere (05:59)
1-6. Theresia Orchestra – 6. Recitativo dopo Cavatina Don Giampaolo: Dunque è un rozzo (01:07)
1-7. Theresia Orchestra – 7. No. 4 Aria Filandro: Nel vedervi a un‘altro in braccio (05:59)
1-8. Theresia Orchestra – 8. Recitativo dopo Aria Filandro: Se lo spezial mi scopre (02:22)
1-9. Theresia Orchestra – 9. No. 5 Aria Bellina: Sono allegra, son contenta (05:56)
1-10. Theresia Orchestra – 10. Recitativo dopo Aria Bellina: La sposa parla sparo (02:05)
1-11. Theresia Orchestra – 11. Recitativo Scena VII: Mio signor … Padronissimo (02:11)
1-12. Theresia Orchestra – 12. No. 6 Quintetto: Caderai … caderai (08:36)
1-13. Theresia Orchestra – 13. Recitativo dopo Quintetto: Oh quanto bene e Aria Ersilia: D’amor la face (03:40)
1-14. Theresia Orchestra – 14. Recitativo dopo Aria Ersilia: Credimi, o mio Filandro (03:07)
1-15. Theresia Orchestra – 15. No. 8 Aria Giampaolo: Na non glimajammè resto (05:54)
1-16. Theresia Orchestra – 16. No. 9.0 Finale I: Signor Giampaolo – Padron mio caro (04:46)
1-17. Theresia Orchestra – 17. No. 9.1 Finale I: Qui dolcemente spira (06:18)
1-18. Theresia Orchestra – 18. No. 9.2 Finale I: Vi vengo a dire (02:01)
2-1. Theresia Orchestra – 1. No. 9.3 Finale I: Zitto zitto e guatto guatto (03:46)
2-2. Theresia Orchestra – 2. No. 9.4 Finale I: Gente, gente… Aita, aita (07:07)
2-3. Theresia Orchestra – Atto secondo 3. No. 10 Terzetto: Declamo, e mi protesto (04:00)
2-4. Theresia Orchestra – 4. Recitativo dopo Terzetto: Mi burlan le briccone! (01:34)
2-5. Theresia Orchestra – 5. No. 11 Aria Romualdo: Io son dottor di legge (05:05)
2-6. Theresia Orchestra – 6. Recitativo dopo Aria Romualdo: Oi me, cara Bellina (01:17)
2-7. Theresia Orchestra – 7. No. 12 Duetto: Un palpito atroce (06:01)
2-8. Theresia Orchestra – 8. Recitativo dopo Duetto: Cara l’amica mia (02:45)
2-9. Theresia Orchestra – 9. No. 13 Aria Leonora: Quel soave e bel diletto (06:33)
2-10. Theresia Orchestra – 10. Recitativo dopo aria Leonora: Signori, ohimé (00:17)
2-11. Theresia Orchestra – 11. No. 14 Cavatina Filandro: Junfre pessime priccone (04:33)
2-12. Theresia Orchestra – 12. Recitativo dopo Cavatine Filandro Che ba trovano fravole (01:53)
2-13. Theresia Orchestra – 13. No. 15 Cavatina Bellina: Ah, mainer, crudel, furfante (03:55)
2-14. Theresia Orchestra – 14. Recitativo dopo Cavatina Bellina: Dite preste, sollecite (01:45)
2-15. Theresia Orchestra – 15. No. 16 Quartetto: Ah, fermate! Camerate… (06:26)
2-16. Theresia Orchestra – 16. Recitativo dopo Quartetto: Orsù mmo assicurate (01:09)
2-17. Theresia Orchestra – 17. No. 17 Aria Giampaolo: Le figliuole che so de vent’anne (04:48)
2-18. Theresia Orchestra – 18. No. 18.0 Finale II: O notte soave (03:35)
2-19. Theresia Orchestra – 19. No. 18.1 Finale II: Signori padroni (04:54)
2-20. Theresia Orchestra – 20. No. 18.2 Finale II: Ah Filandro, ah Filandro (03:27)
2-21. Theresia Orchestra – 21. No. 18.3 Finale II: Cara… Carino (04:36)

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Domenico Cimarosa’s Le astuzie femminili was presented with success at the Teatro dei Fiorentini in Naples on 26 August 1794. The libretto by Giuseppe Palomba is a rewriting of Giovanni Bertati’s Amor rende sagace. Bertati, who succeeded Lorenzo Da Ponte as imperial poet at the Habsburg court in 1790, had furnished this text to Cimarosa for a composition staged in Vienna during the previous year, in the wake of the triumphant success scored by the composer and the librettist with Il matrimonio segreto. As we read in the introductory note preceding the text of the libretto, the product now being offered to the Viennese public by the Cimarosa-Bertati duo was quite different from Il matrimonio segreto, given that it was situated in the genre of the one-act farce, in which the sentimental element almost entirely gives way to »popular buffoonery,« while »that which interests the heart« is relegated to brief effusions in the exchanges between the enamored couple. In effect, the plot of Amor rende sagace has a structure of elementary simplicity based on a stratagem set in motion by an astute and enterprising girl who pretends to be crazy to avoid an unwanted marriage, not to lose a substantial inheritance, and to secure her beloved as her spouse.

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