Risultati Editore "Naxos AudioBooks" in Arte e intrattenimento

La sonnambula was written by Bellini as a vehicle for two of the supreme singers of his age and accordingly is a fine example of the school we call bel canto, where beauty of voice and the virtuosity of the singers is integral to conveying the emotions in the soul of the composer. The fact that Bellini was one of the great melodists, writing long, beautiful vocal lines, that he was a master orchestrator and that he could write stirringly for the chorus all conspire to make La sonnambula extremely enjoyable.

Rigoletto is simply wonderful entertainment with superb music. It is also much more - a daring (for its time) attack on aristocratic privilege, a tender love story, and an impassioned appeal on behalf of the disadvantaged, all set to music of such wealth and beauty that, with its sister operas La traviata and Il trovatore, it has defined Italian opera for 150 years. Overcoming initial trouble with the censors, Verdi's Rigoletto was a smash hit at its premiere and has not been out of the repertoire since. It’s not hard to see why.

Don Giovanni has long been regarded as Mozart’s supreme theatrical achievement. The subject seems unpromising - the last day in the life of the notorious womanizer Don Juan - but the skill of the librettist allied to the genius of Mozart at the very peak of his powers has created a work which is not only highly entertaining but reflects an incredible understanding of the human condition.

La Traviata owes its enduring popularity to a superb story of young love and fatal sacrifice, set to music by Italy’s master melodist at the peak of his powers. Interest and poignancy are added by the fact that this is a true story - the baritone ‘heavy’ is Alexander Dumas who wrote The Count of Monte Cristo. But it is the central figure, the heroine Violetta, the archetypal ‘whore with the heart of gold’ who dominates the piece. It is her opera and we love her for it.

Il Trovatore has been ruthlessly parodied. It is a tale of murder and mayhem, burned babies, roasted hags, would-be nuns, strolling minstrels, and bad baritones. And indeed the libretto does call for a willing suspension of disbelief. The reward is in the music, a score as prodigally melodic as only the mature Verdi could write: the "Anvil" chorus, the "Miserere" scene, two great tenor arias, a beautiful baritone aria - a richness without embarrassment.

With the possible exception of Mozart, Verdi is the most popular opera composer who ever lived. Quite early in his career his tunes were being cranked out by barrel organs throughout Europe and were well known to many who may never even have heard his name. But the complex man behind them remains elusive and puzzling. In this portrait-in-sound, Jeremy Siepmann and a group of distinguished actors take an in-depth look behind the popular image of a man who was, and perhaps remains, the most enduring national hero in Italian history and a colossus in the history of music itself.

Ancient Egypt and the war with Ethiopia is the setting for Verdi’s grandest opera. It is the story of the love between Rhadames, the Egyptian general, and Aida, an Ethiopian slave, and the jealousy of Amneris, daughter of the King of Egypt. It was written in 1871 to a commission from the Khedive of Egypt to inaugurate the new opera house in Cairo. Aida generally is considered one of the most spectacular of Verdi’s operas.

La Bohème is one of the three operas - the others are Carmen and Aida - believed to be the most popular ever written. In the case of La Bohème the reason is that it virtually defines the term "romantic". The poignant story of Mimì and Rodolfo is told in music of such tender beauty, allied, as always, to Puccini’s intuition of what works in the theatre. The result is an opera that readily appeals to our emotions and senses.

What is art? Why do we value images of saints, kings, goddesses, battles, landscapes or cities from eras of history utterly remote from ourselves? This history of art shows how painters, sculptors and architects have expressed the belief systems of their age: religious, political and aesthetic. From the ancient civilisations of Egypt, Mesopotamia and Greece, to the revolutionary years of the nineteenth and twentieth centuries, the artist has acted as a mirror to the ideals and conflicts of the human mind.

Puccini’s swansong has a claim to being the last great popular opera. Its melodies have enchanted audiences since its posthumous premiere in 1926, two years after Puccini’s death. It involves a chilling story of love and cruelty, an intriguing cast of characters against the exotic backdrop of Imperial China, magnificent choruses and ensembles, and dazzling orchestration in an exotic score that comprises a string of remarkable arias - among which the great tenor aria "Nessun dorma" is the jewel. It is more than Puccini’s last opera: It is the last word, in every sense, on Italian opera.

The Magic Flute almost defines a masterpiece, because it can be enjoyed on every level. It is a superb fairy story, complete with dragons, demons, a handsome prince, and a lovely maiden seriously in need of rescue; it is a political satire, social commentary, and psychological drama; it is full of tunes from the playful to the heart-stopping, jolly songs, and deeply spiritual outpourings. It is, in short, "Mozart" - and there is no greater compliment than that.

For many people, Beethoven is the greatest composer who ever lived. In this portrait-in-sound, actors’ readings combine with his music to reveal a titanic personality, both vulnerable and belligerent, comic and tragic, and above all heroic, as he comes to grips with perhaps the greatest disability a musician can suffer. No man’s music is more universal; few men’s lives are more inspiring. In every sense but one - his modest height - he was a giant. The great bonus of this audio-biography is that the development of Beethoven’s music can be heard in the context of his life.

Claude Debussy is regarded by many as the quintessential French composer, with music that invited both warm applause and frosty criticism in his day. While our ears no longer hear him as controversial, his works heralded the dawn of an artistic period founded on innovation and experiment, and a desire to break with the past in search of new expressive means. With never a dull moment, Debussy went from being a musical misfit at the Paris Conservatoire to bohemian life amongst the Symbolist poets and some scandalous love affairs.

Carmen is among the most popular operas for all the obvious reasons: great characters, a gripping story, and fabulous music. But what sets it on a pinnacle is an amazing combination of three factors: a sizzling Gipsy heroine (one of the most psychologically complex and compelling characters in all theatre), great atmosphere (Spain, hot sun, the bull-ring), and the prodigality of melodic invention - one great tune after another, at least a dozen of which are the staples of Madison Avenue and the animated cartoon.

Wagner’s Ring cycle is the most ambitious work in the history of music: four operas that combine to tell a single epic story. Based in legend, it has become a legend in its own right: a supreme challenge for conductors, singers, opera producers, and indeed for audiences. But for all its grandeur and complexity, The Ring is far more accessible than many music lovers think.

Verdi’s Falstaff repays careful study with real pleasure. It is opera’s happiest irony that the great Italian master should cap a career - distinguished for its blood-and-thunder tragic masterpieces - with the greatest comic opera in the Italian repertory. The genius of Shakespeare is harnessed (in a miracle of compression) by master-librettist Boito to give the 80-year-old Verdi a superb libretto, on which he lavished more wonderful tunes than most composers manage in a lifetime.

In this audio-original production, author Richard Fawkes traces the development of the musical, highlighting composers and lyricists including Irving Berlin, George Gershwin, Rodgers and Hammerstein, Lerner and Loewe, Andrew Lloyd Webber and Stephen Sondheim. Presented by the vivacious singer Kim Criswell, star of Cats, and including nearly 100 famous musical extracts.

From Gregorian Chant to Henryk Gorecki, the first living classical composer to get into the pop album charts, here is the fascinating story of over a thousand years of Western classical music and the composers who have sought to express in music the deepest of human feelings and emotions. Also available: The History of Opera.

Many opera-lovers would name The Marriage of Figaro as their favorite opera. It appeals to the most intellectual listener, but also to music-lovers seeking great melodies and ensembles (while it remains accessible through its fascinating plot and memorable characters) and to those seeking only entertainment. One of three operas by Mozart to libretti by Lorenzo da Ponte, it represents one of the pinnacles not just of operatic but of human achievement.

Così Fan Tutte contains some of Mozart’s most sublime music. On one level, the opera is purely a social anecdote about young people falling in and out of love; but Mozart was a supreme sensualist and a great humanist, and invested the tale with all his understanding of humanity and young love. In this title, David Timson refutes the charge that Mozart squandered his genius on a work full of trivial nonsense and proves this "miraculous yet problematic" opera to be a great work of theatre. To listen to this thought-provoking examination of the characters and the music is both thoroughly enriching and great fun.