Спасибо большое за возможность послушать великолепную оперу Антонио Сальери - "Тарар" 😃🙏😍 Это одно из самых прекрасных его сочинений, ещё при жизни маэстро были сотни представлений, при полном зрителей зале! Очень интересно читать воспоминания, как создавалась опера, Сальери жил в доме Бомарше (автор либретто), была очень уютная атмосфера, композитор и поэт в итоге стали настоящими друзьями, и опера принесла им огромный успех! Обязательно обратите внимание на третий акт, посвящённый празднику, играет очень много инструментальной музыки для танцев, и конечно будет знаменитая песенка "Ah, Povero Calpiggi" 😃 А также в четвёртом акте великолепная ария Астазии ❤️ И конечно грандиозный финал оперы с участием хора и всех инструментов! Bravo, mio ♥️ Maestro Antonio Salieri!
Великолепное произведение и очень качественно поставлена опера, костюмы а исполнение как вокальное так и инструментальное на высочайшем уровне и звук тоже, немцы умеют ставить оперы, чем то напоминает zauberflote я в восторге!
Can we call Tarere & Axur, Re de Ormus as predecessors of Grand Operas of Cherubini , Spontini and Methyl? The great presentation & music of Salieri . Thanks for loading.
Tarare is undeniably a musical masterpiece. The libretto is incredible,the music absolutely amazing, but this version was shortened a bit. Key parts are missing like the second overture, aka the overture of Axur re D'Ormus as its the Italian adaptation of the french play
Un des opéra le plus réussi du grand Antonio Salieri , peu connu si j'en juge par l'année de mise sur youtube de la vidéo, et des 8 442 vues seulement.
Smile. What a heap of nonsense. If anything he was out-shined, out-performed and out-classed by Mozart. Pushkin simply delivered the literary work to a rumour and Milos Forman delivered a brilliant piece of cinematography based on Shaffer's play. As simple as that.
It seems that this opera is more like the play 'The Marriage of Figaro' than I had first thought. It appears that the mythological part only appears at the beginning and and the rest is highly political. From the scanty information I have from Wikipedia (using the synopsis of 'Axur Re D'Omur' which appears to retelling of the same story in Italian) it appears to be about a ruler who abuses his power to obtain sexual favours from the wife of someone who had served him and eventually gets his come upance. In 'The Marriage of Figaro' the ruler, Count Almaviva, is humiliated and is forced to apologise to his wife and in 'Tarare' the King is forced to abdicate or so it appears. Napoleon described 'The Marriage of Figaro' as revolution in action and it seems that 'Tarare' was similar. After all both were written by the same man, Pièrre Augustin Caron de Beaumarchais.
The genius that presides over the reproduction of creatures, or Nature : soprano Gabrielle Rossmanith The genius of fire, which presides over Sun, in love with Nature : baritone Klaus Kirchner Atar, King of Ormus, a wild and unrestrained man : baritone Jean-Philippe LaFont Tarare, a soldier in his service, honoured for his great virtues : tenor Howard Cook Astasie, Tarare's wife, both tender and pious : mezzo soprano Zehava Gal Arthénée, High Priest of Brahma, a misbeliever devoured by pride and ambition : bass-baritone Nicolas Rivenq Altamort, an army general, son of the High Priest, a reckless and fiery youth : bass-baritone Hannu Niemelä Urson, captain of Atar's guard, a valiant man of great honor: (bass-baritone Jean Francois Gardeil Calpigi, chief of the Eunuchs, a European slave and a former singer emerged from the Chapels of Italy: tenor Eberhard Lorenz Spinette, a European slave woman, Calpigi's wife and a former Neapolitan cantatrice: soprano Anna Caleb The Prologue is the most unusual part of the opera. It poses certain theatrical challenges that do not seem well met in this production, however. Interestingly, the opera opens with a storm scene. The stage is here filled with emblems of the nations of the world and their emperors, each struck down in slow motion by an allegorical figure wielding death's scythe. It would have been preferable to have recreated, with the dance company, the pantomime of winds unchained described in the original stage directions, and to see them gradually calmed, the clouds dispersed, and a daytime countryside revealed, all in response to the musical score. What follows is a lengthy discourse between La Nature and the Le Genie de Feu over the fates of each of the characters in the opera, whose shadows appear before them and whose souls they are about to awake. The discourse is convoluted, but filled with allusions to equality, class and power, science, character, and the creator. Happily, from the first notes of Act I, we are in a world of action, where the author's philosophical point of view, though heavy handed, is made in lively metaphor. The setting is an Asiatic kingdom, where Atar, the king, is frustrated by the adulation his people confer upon the heroic soldier Tarare. Atar conspires with the high priest of Brama, Arthénée and the priest's son Altamort to abduct Tarare's wife Astasie , whom the king desires, and to get rid of Tarare. It sounds like the stuff of dramatic opera, but from the very beginning it is hilarious. This hilarity is aided considerably by the two European servants in the court - the eunuch Calpigi, and his wife Spinette, who are, appropriately, dressed as Harlequins in surroundings of Asiatic exoticism. The third act is primarily an extended divertissement, choreographed by Ann Jacoby. The wonderful conceit of this is that the 'exotic' elements are the Europeans, and it is very funny to see Atar and the long mustached Middle-Eastern soldiers trying to imitate a provincial French pastorale. The scene ends with a tuneful strophic Italian song sung by Calpigi that is cleverly and dramatically interrupted by the appearance of Tarare. At this point the work begins to take on the trappings of a rescue opera. The fourth act provides two musical moments worth mentioning - Astasie's passionate air, alternating with recitative, "O mort, termine mes douleurs", and a compelling duo reflecting the humorous emotional confusion of a scene of mistaken identity between Tarare and Spinette. In Act 5, Atar's plans fall to pieces. The subjugated Tarare is loyal to the monarchy to the end, however, despite the king's perfidy, but the soldier is still the object of the people's affections. Humiliated, the king then ends his own life, and the people, led by Urson, the captain of the guards, give the crown to Tarare, which he reluctantly accepts. The final chorus hammers the moral home: "Mortals,.....your greatness comes not from your rank, but from your character."
A la fin du XVIII siècle, Salieri était beaucoup plus apprécié et joué que Mozart, que l'on considérait, à juste raison, comme un virtuose du piano. Comme compositeur... Écoutez donc ses concertos de piano et ceux de Johann Christian Bach (op. 13) en faisant attention aux dates de composition. Tour comme vous trouverez le début du fameux Requiem dans une des Chandos Cantatas de G. Fr. Händel.
In Prague, several operas "Don Juan" have already been performed in Mozart, and the last, "Don Giovanni Tenorio" by Giuseppe Gacaniga (the premiere in Venice on February 5, 1787) has achieved such a great success, that they ordered the Prague opera Amadeus opera on the same theme, paying him in advance for that 100 ducats. Mozart's Don Juan was premiered in Prague on October 29, 1787, and, in fact, Gacanigin's "Don Juan" evolved - "grinding" - became Mozart's "Don Juan"! If new ideas are not without evolution, they can be followed by the "Figaro marriage" (1786), and by comparing it with the three operas that preceded it - the "Buffy Lover" (from 1778, performed 260 times!) By the Buffet opera "Bomarsha Paisel" Seville Barberin "(1782. Giovanni Paisiello), Pichini's" Didon "(1783), and Pichini's" Dodone abbandonata "(1770). Similarly compare Mozart's "Requiem" with "Requiem" by Michael Haydn from 1771 and "Lacrimosa" from the Francois-Joseph Gosek. In fact, when he wrote: Joseph Leopold Eybler: "Domine Jesu Christe", Franz Xaver Süßmayr: "Sanctus, Benedictus and Agnus Dei" means "Requiem" composed by: Mozart / Susamer / Eibler. Early piano work by Amadeus was taken over by Hermann Friedrich Raupach, Johann Gottfried Eckard, Johann Schobert, Leontzi Honauer.
In simple terms that's to a frankly over rated movie and his own critical views of himself(rather common with many artists) arguably one of the greatest opera composers ever is maligned as nothing more than a joke while Mozart is elevated to status unearned at the expense of the other
I was initially attracted to this work by the librettist Pierre Augustin Caron de Beaumarchais who also wrote the plays 'Barber of Seville' and 'The Marriage of Figaro' before they were turned into operas. To my disappointment this piece seems to be much more mythological than the Figaro plays though could this be due to the activities of the opera director. (I saw a version of 'The Marriage of Figaro' in which the director had added a character which did not appear in the original play nor in the Opera. This character, called 'Cherubim', had supernatural powers and somehow mirrored Cherubino. This additional character ruined the production for me) As far as the music is concerned, it appears that Salieri's style is very different from that of Mozart.
+Marcel Pfister Actually ... Whilst occasionally using elements of baroque, as many did, Salieri, as many are, is amongst the first *proto-romantic composers* (more noticeable since about 1779), especially with his Les Danaides and Tarare. While rococo was amongst what was played in Vienna, Paris had operatic theatre which required a different style of music and the court in Moscow had Sarti (when Mozart was still alive, Sarti reworked his ''Russian Oratorio'') and Kozlovsky (Requiem, 1798) - please listen to these works to hear the difference ... As one of the reviewers of Les Danaides correctly notices: ''Le germe romantique couve chez ce Salieri fortement gluckiste ...'' - meaning that Salieri binds various ''period'' elements together - coherently. Beaumarchais, under whom Salieri diligently worked on Tarare :D and basically had to do what Beaumarchais thought of as (his own idea of an approximation to the) ''Ancient Greek theatre'' - only brought these to their knees and, at that time, limits. Salieri knew and was fully aware of the differences in genres and locations - which shows in his music as he at times gives one the lead - yet binds it with others as well. Musicologists now give Salieri his due, especially since the later composers which in many textbooks constitute ''official romanticism'' - were taught by Salieri and were inspired heavily by Salieri's works. In other words: what we're usually and via custom think of as ''separate periods'' in music - are more for our own orderly comfort than actual truth: musical elements have an uncanny way of travelling fluently through time, adapting and popping up where least expected ... Listen to works of Salieri - and maybe you'll even find hints of a Leitmotif in them. ... You know, another exclusively ''Weber-Wagner'' feature ...
Really? I find this opera much more heroic and of the revolutionary era than belonging to some sort of proto Romanticism and has more in common with Gretry, Cherubini and Le Sueur among others from around the turn of the 19th century while still referencing Gluck, Rameau, and Monsigny.
This is not Baroque but Classical, the same as the Marriage of Figaro which has a libretto of the same Beaumarchais. How can you say they have shortened it if it is still almost three hours long? What has been cut out ?
@@sergeyyak +1 - не просто хорошо, а прямо в точку. Публика на премьере вынесла двери. Это был дорогущий заказ от французской академии, постановку потом тиражировали по имперским столицам. Сальери кучу денег заработал на этом))) и Пушкин это совершенно точно слышал в СПб, в "МиС" он, собственно, ссылается на этот мотивчик: th-cam.com/video/5I0jdLbAdp4/w-d-xo.html
Зачем Вы сравниваете их? Что Вам это даст? С Моцартом вообще никто из композиторов не сравнится, но это не значит, что теперь нужно искать колоссальную пропасть в творчестве других композиторов
Спасибо большое за возможность послушать великолепную оперу Антонио Сальери - "Тарар" 😃🙏😍 Это одно из самых прекрасных его сочинений, ещё при жизни маэстро были сотни представлений, при полном зрителей зале! Очень интересно читать воспоминания, как создавалась опера, Сальери жил в доме Бомарше (автор либретто), была очень уютная атмосфера, композитор и поэт в итоге стали настоящими друзьями, и опера принесла им огромный успех! Обязательно обратите внимание на третий акт, посвящённый празднику, играет очень много инструментальной музыки для танцев, и конечно будет знаменитая песенка "Ah, Povero Calpiggi" 😃 А также в четвёртом акте великолепная ария Астазии ❤️ И конечно грандиозный финал оперы с участием хора и всех инструментов!
Bravo, mio ♥️ Maestro Antonio Salieri!
Интересно. Думаю у него все произведения на высоте, хорошая музыка, приятно послушать
Великолепное произведение и очень качественно поставлена опера, костюмы а исполнение как вокальное так и инструментальное на высочайшем уровне и звук тоже, немцы умеют ставить оперы, чем то напоминает zauberflote я в восторге!
Thank you for presenting this opera of the too much obscured Salieri !
This is a production with *a lot* of spirit. Delightful.
Grande musica e opera originalissima. Inspiegabile il suo oblio
I hear Handel’s violins of the Hallelujah chorus in his Messiah at 1:17:51 …. Salieri was a big fan of Gluck and Handel.
Can we call Tarere & Axur, Re de Ormus as predecessors of Grand Operas of Cherubini , Spontini and Methyl?
The great presentation & music of Salieri .
Thanks for loading.
“When one hears such sounds, what can one say but...SALIERI!”
I teatri riscoprano il genio di Salieri! Grande musica
Tarare is undeniably a musical masterpiece. The libretto is incredible,the music absolutely amazing, but this version was shortened a bit. Key parts are missing like the second overture, aka the overture of Axur re D'Ormus as its the Italian adaptation of the french play
great!!!!!!!!!!!!!
Un des opéra le plus réussi du grand Antonio Salieri , peu connu si j'en juge par l'année de mise sur youtube de la vidéo, et des 8 442 vues seulement.
Love the tempi throughout.
サリエリの復権、演奏機会が増えることを願いますね。モーツアルトと比べられるけど、彼とは違う洗練がある。かるみ、といえばいいのか？宮廷のエッセンスはサリエリが体現しているんでしょうね。どこまでも明るい。
Really a genius! Killed by Puskin and Milos Forman.
Smile. What a heap of nonsense. If anything he was out-shined, out-performed and out-classed by Mozart. Pushkin simply delivered the literary work to a rumour and Milos Forman delivered a brilliant piece of cinematography based on Shaffer's play. As simple as that.
Nobody cared about him before Amadeus was released...
Great Destroyer I can’t think of anything sadder and more futile than Salieri-apologists
@@celloswiss This is a pretty decent opera.
@@celloswiss Forman's cinematography is a total fiction
I wish there were subtitles in English. I would like to understand what is going on and it appears my French is not good enough.
I'm french and I don't understand so much ahah
The french opera pronunciation is really strange
It seems that this opera is more like the play 'The Marriage of Figaro' than I had first thought.
It appears that the mythological part only appears at the beginning and and the rest is highly political.
From the scanty information I have from Wikipedia (using the synopsis of 'Axur Re D'Omur' which appears to retelling of the same story in Italian) it appears to be about a ruler who abuses his power to obtain sexual favours from the wife of someone who had served him and eventually gets his come upance.
In 'The Marriage of Figaro' the ruler, Count Almaviva, is humiliated and is forced to apologise to his wife and in 'Tarare' the King is forced to abdicate or so it appears.
Napoleon described 'The Marriage of Figaro' as revolution in action and it seems that 'Tarare' was similar. After all both were written by the same man, Pièrre Augustin Caron de Beaumarchais.
The genius that presides over the reproduction of creatures, or Nature
: soprano Gabrielle Rossmanith
The genius of fire, which presides over Sun, in love with Nature
: baritone Klaus Kirchner
Atar, King of Ormus, a wild and unrestrained man
: baritone Jean-Philippe LaFont
Tarare, a soldier in his service, honoured for his great virtues
: tenor Howard Cook
Astasie, Tarare's wife, both tender and pious
: mezzo soprano Zehava Gal
Arthénée, High Priest of Brahma, a misbeliever devoured by pride and ambition
: bass-baritone Nicolas Rivenq
Altamort, an army general, son of the High Priest, a reckless and fiery youth
: bass-baritone Hannu Niemelä
Urson, captain of Atar's guard, a valiant man of great honor:
(bass-baritone Jean Francois Gardeil
Calpigi, chief of the Eunuchs, a European slave and a former singer emerged from the Chapels of Italy: tenor Eberhard Lorenz
Spinette, a European slave woman, Calpigi's wife and a former Neapolitan cantatrice: soprano Anna Caleb
The Prologue is the most unusual part of the opera. It poses certain theatrical challenges that do not seem well met in this production, however. Interestingly, the opera opens with a storm scene. The stage is here filled with emblems of the nations of the world and their emperors, each struck down in slow motion by an allegorical figure wielding death's scythe. It would have been preferable to have recreated, with the dance company, the pantomime of winds unchained described in the original stage directions, and to see them gradually calmed, the clouds dispersed, and a daytime countryside revealed, all in response to the musical score. What follows is a lengthy discourse between La Nature and the Le Genie de Feu over the fates of each of the characters in the opera, whose shadows appear before them and whose souls they are about to awake. The discourse is convoluted, but filled with allusions to equality, class and power, science, character, and the creator.
Happily, from the first notes of Act I, we are in a world of action, where the author's philosophical point of view, though heavy handed, is made in lively metaphor. The setting is an Asiatic kingdom, where Atar, the king, is frustrated by the adulation his people confer upon the heroic soldier Tarare. Atar conspires with the high priest of Brama, Arthénée and the priest's son Altamort to abduct Tarare's wife Astasie , whom the king desires, and to get rid of Tarare. It sounds like the stuff of dramatic opera, but from the very beginning it is hilarious. This hilarity is aided considerably by the two European servants in the court - the eunuch Calpigi, and his wife Spinette, who are, appropriately, dressed as Harlequins in surroundings of Asiatic exoticism. The third act is primarily an extended divertissement, choreographed by Ann Jacoby. The wonderful conceit of this is that the 'exotic' elements are the Europeans, and it is very funny to see Atar and the long mustached Middle-Eastern soldiers trying to imitate a provincial French pastorale. The scene ends with a tuneful strophic Italian song sung by Calpigi that is cleverly and dramatically interrupted by the appearance of Tarare. At this point the work begins to take on the trappings of a rescue opera. The fourth act provides two musical moments worth mentioning - Astasie's passionate air, alternating with recitative, "O mort, termine mes douleurs", and a compelling duo reflecting the humorous emotional confusion of a scene of mistaken identity between Tarare and Spinette. In Act 5, Atar's plans fall to pieces. The subjugated Tarare is loyal to the monarchy to the end, however, despite the king's perfidy, but the soldier is still the object of the people's affections. Humiliated, the king then ends his own life, and the people, led by Urson, the captain of the guards, give the crown to Tarare, which he reluctantly accepts. The final chorus hammers the moral home: "Mortals,.....your greatness comes not from your rank, but from your character."
25:27 Axur Overture CUT!!!!!!!!!!!!!!! Why?????
A la fin du XVIII siècle, Salieri était beaucoup plus apprécié et joué que Mozart, que l'on considérait, à juste raison, comme un virtuose du piano. Comme compositeur... Écoutez donc ses concertos de piano et ceux de Johann Christian Bach (op. 13) en faisant attention aux dates de composition. Tour comme vous trouverez le début du fameux Requiem dans une des Chandos Cantatas de G. Fr. Händel.
I miss subtitules (english, español..)
I was looking for this music for over 20 years. did you rip this dvd ?
3 сағаттық опера, мәссаған!
www.operatoday.com/content/2005/05/salieri_tarare.php
If you want more info on the recording.
In Prague, several operas "Don Juan" have already been performed in Mozart, and the last, "Don Giovanni Tenorio" by Giuseppe Gacaniga (the premiere in Venice on February 5, 1787) has achieved such a great success, that they ordered the Prague opera Amadeus opera on the same theme, paying him in advance for that 100 ducats. Mozart's Don Juan was premiered in Prague on October 29, 1787, and, in fact, Gacanigin's "Don Juan" evolved - "grinding" - became Mozart's "Don Juan"! If new ideas are not without evolution, they can be followed by the "Figaro marriage" (1786), and by comparing it with the three operas that preceded it - the "Buffy Lover" (from 1778, performed 260 times!) By the Buffet opera "Bomarsha Paisel" Seville Barberin "(1782. Giovanni Paisiello), Pichini's" Didon "(1783), and Pichini's" Dodone abbandonata "(1770). Similarly compare Mozart's "Requiem" with "Requiem" by Michael Haydn from 1771 and "Lacrimosa" from the Francois-Joseph Gosek. In fact, when he wrote: Joseph Leopold Eybler: "Domine Jesu Christe", Franz Xaver Süßmayr: "Sanctus, Benedictus and Agnus Dei" means "Requiem" composed by: Mozart / Susamer / Eibler. Early piano work by Amadeus was taken over by Hermann Friedrich Raupach, Johann Gottfried Eckard, Johann Schobert, Leontzi Honauer.
Please explain how your comments are relevant to this opera.
Tracks names???
Marvelous production. I consider myself tone deaf so I really do not understand the Salieri Mozart controversy.
In simple terms that's to a frankly over rated movie and his own critical views of himself(rather common with many artists) arguably one of the greatest opera composers ever is maligned as nothing more than a joke while Mozart is elevated to status unearned at the expense of the other
🍫🐾🍫🍫🍷🍷
I was initially attracted to this work by the librettist Pierre Augustin Caron de Beaumarchais who also wrote the plays 'Barber of Seville' and 'The Marriage of Figaro' before they were turned into operas. To my disappointment this piece seems to be much more mythological than the Figaro plays though could this be due to the activities of the opera director.
(I saw a version of 'The Marriage of Figaro' in which the director had added a character which did not appear in the original play nor in the Opera. This character, called 'Cherubim', had supernatural powers and somehow mirrored Cherubino. This additional character ruined the production for me)
As far as the music is concerned, it appears that Salieri's style is very different from that of Mozart.
Ребят, это всё очень хорошо, но как на счет субтитр? Или может есть у кого-то текст либретто (если он переведен на русский, то вообще прекрасно)?
2:45:34 For the people who watched Amadeus
ancestor of the chinese
What is the name this theatre? Thanks
It is the Schwetzingen Opera in Germany
@@joisy78 Beautiful. Thanks
It is a pitty that they have shortened this beautiful opera so much! And I think the interpretation is to baroque...it should be more romantic
revolutionsetude Actually... Tarare should be in rococo style. The first romantic opera was "Der Freischütz" bei Carl Maria von Weber.
+Marcel Pfister Actually ... Whilst occasionally using elements of baroque, as many did, Salieri, as many are, is amongst the first *proto-romantic composers* (more noticeable since about 1779), especially with his Les Danaides and Tarare. While rococo was amongst what was played in Vienna, Paris had operatic theatre which required a different style of music and the court in Moscow had Sarti (when Mozart was still alive, Sarti reworked his ''Russian Oratorio'') and Kozlovsky (Requiem, 1798) - please listen to these works to hear the difference ... As one of the reviewers of Les Danaides correctly notices:
''Le germe romantique couve chez ce Salieri fortement gluckiste ...''
- meaning that Salieri binds various ''period'' elements together - coherently. Beaumarchais, under whom Salieri diligently worked on Tarare :D and basically had to do what Beaumarchais thought of as (his own idea of an approximation to the) ''Ancient Greek theatre'' - only brought these to their knees and, at that time, limits. Salieri knew and was fully aware of the differences in genres and locations - which shows in his music as he at times gives one the lead - yet binds it with others as well. Musicologists now give Salieri his due, especially since the later composers which in many textbooks constitute ''official romanticism'' - were taught by Salieri and were inspired heavily by Salieri's works. In other words: what we're usually and via custom think of as ''separate periods'' in music - are more for our own orderly comfort than actual truth: musical elements have an uncanny way of travelling fluently through time, adapting and popping up where least expected ... Listen to works of Salieri - and maybe you'll even find hints of a Leitmotif in them. ... You know, another exclusively ''Weber-Wagner'' feature ...
Really? I find this opera much more heroic and of the revolutionary era than belonging to some sort of proto Romanticism and has more in common with Gretry, Cherubini and Le Sueur among others from around the turn of the 19th century while still referencing Gluck, Rameau, and Monsigny.
This is not Baroque but Classical, the same as the Marriage of Figaro which has a libretto of the same Beaumarchais. How can you say they have shortened it if it is still almost three hours long? What has been cut out ?
certainly NOT romantic
i am just here to hear what his music was....well...i stay with Mozart :)
attila antal I am here because I love Mozart, and are exploring Salieri. I guess I have two favorite opera composers by now :) great music..
Nahát egy magyar 😀
Послушайте что-нибудь из Моцарта и вы почувствуете колоссальную пропасть между (пусть даже хорошим и заслуженным) талантом и Гением.
Что значит что-нибудь??? В данном случае исполняется опера, которая даже очень хорошо написана.
@@sergeyyak +1 - не просто хорошо, а прямо в точку. Публика на премьере вынесла двери. Это был дорогущий заказ от французской академии, постановку потом тиражировали по имперским столицам. Сальери кучу денег заработал на этом))) и Пушкин это совершенно точно слышал в СПб, в "МиС" он, собственно, ссылается на этот мотивчик: th-cam.com/video/5I0jdLbAdp4/w-d-xo.html
При чем тут Моцарт? Достали.. Он будто проклятье для творчества Сальере..
Сам понял что сказал
Зачем Вы сравниваете их? Что Вам это даст? С Моцартом вообще никто из композиторов не сравнится, но это не значит, что теперь нужно искать колоссальную пропасть в творчестве других композиторов
3 сағаттық опера, мәссаған!