Mozart's Mitridate: Duetto "Se viver non degg'io"
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- เผยแพร่เมื่อ 5 มิ.ย. 2008
- An excerpt from a film (1986) by Jean-Pierre Ponnelle of Mozart's first opera seria "Mitridate, re di Ponto", composed when Mozart was just in 14 years old. Aspasia (soprano) was in this recording Yvonne Kenny and the role of Mitridate's son, Sifare (also soprano), was sung by Ann Murray (originally the boy role was composed for castrato). The Concentus Musicus Wien was conducted by Nikolaus Harnoncourt. Available in DVD (DGG 2006).
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Mozart zenéjét nem szeretni egyszerűen számomra elképzelhetetlen, legyen szó szépséges rokokó, vagy teljesen modern környezetben, mindig feludito, különösen ilyen kiváló énekesek előadásában mint ann muray !
This music makes me forget about all the pain I ever had to feel, and makes me weep tears of joy.
That's the sign of true, pure beauty. It makes the ugliness of the world melt away and brings peace and joy.
Interestingly, the lyrics itself has something to do with pain.
❤Hallo, ich würde mich über eine gute Übersetzung sehr freuen 😊können Sie es senden? Liebe Grüsse
Mozart compose it when he was only 14!! Just incredible!
The harmony of both voices are incredibly beautiful. Outstanding performace!
So beautiful!
Thank you Mozart for being born in this world.
I actually attended Miridate live performance in London (Royal Opera House) in 1993 and forgot everything about it.
But now i remember how beautiful it is!
This is perfection. so tender, so sweet, so pure
Musica meravigliosa, bravissime le interpreti, belli i costumi, la scenografia indescrivibile con il teatro vicentino del Palladio !
Che belle voce!
Escuché hace poco que existieron buenos compositores, grandes compositores, geniales compositores...y Mozart.
Espectacular, cada vez que la escucho me quedo sin aliento y maravillada de que una persona pudo ser capaz de crear música tan hermosa...Excelente interpretación, excelentes voces.
Beautiful blending of voices, stunning if this was made in 1986 I'v seen nothing anywhere near as brilliant since.
Jo
Jo Lizoraga The excellence of this performance highlights the inadequacy of the majority of modern singers.
Mesmerised Duetto and music! Yes, it is Mozart....
LA MERAVIGLIA!!!!!!!!
INCREDIBLE!!!!!
Ann Murray has always been a favourite of mine. I recommend the videos with her as Xerxes, great singing and production.
I have the Bartoli/Dessay/Azawa CD of Mitridate. Hate to admit it but Kenny surpasses Dessay - wonderful control, technique. Murray is glorious. And together, multiplied exponentially! thanks so much for this
maravilla absoluta
Adoro questo brano
Ponnelle et Harnoncourt ont fait du MOZART et non de l'opéra italien de 1770 GLOIRE A EUX en plus ils ont eu la "chance" d'avoir 2 SUPER CANTATRICES :) :) :)
ADORABLE QUEENS
This is absolute genius! I have been looking for this vido form this Ponnelle production EVERYWHERE!! Thank you!!!
Che bella canzona! Mi la piace molto!
I would argue that it is Mitridate that is the most interesting thing Mozart ever created in his childhood years (and the best of his early operas, and yes, I am taking Lucio Silla into account)... there are many moments filled with VERY mature pathos. This is a perfect example.
I've always liked Mitridate the most of any Mozart opera before La finta giardiniera. It's not perfect, but some of the numbers have a beauty that is astonishing from a fourteen-year-old. Mozart was already a superior melodist to many of the adults composing opera seria at the time.
Por Dios que belleza… sublime …
I shared this on my facebook, and I'll just copy-and-paste the commentary I wrote for it.
Oh, I have SO MUCH to tell you about this wonderful TH-cam clip. It's a deeply moving and highly virtuosic duet sung by the characters, Aspasia and Sifare, the Prima Donna and (de facto) Primo Uomo, respectively, from "Mitridate, Re di Ponto", the opera seria by a 14-yo boy wonder that is our very own dear Wolfgang Amadeus Mozart. And the classically inspired mise-en-scene by the venerated Jean-Pierre Ponnelle. Performed admirably by the Australian Yvonne Kenny and the Irish Ann Murray, both the BEST coloratura soprano and mezzo, respectively, available in this repertoire in this period of production, which I believe to be the 1980's, under the baton of Nikolaus Harnoncourt. (We finally reach the PINNACLE in terms of the recordings of this very opera with Natalie Dessay and Cecilia Bartoli, under the baton of Christophe Rousset, some two decades later.)
It is what it is, just as I said, and I dearly treasure this. It has withstood the test of the times. The level of singing and acting is still superb even by today's perhaps more "learned" and specialized standards, and I'd bend over backward if the Met ever adds this rare gem of a Mozart opera seria to their repertoire, completing perhaps a nice triptych of Ponnelle productions of Mozart opera serias already at the theatre, along with "Idomeneo" and "la Clemenza di Tito".
I used to DETEST seeing these what I used to call "dusty old museum productions"--I'd probably seen that elsewhere--at the Met already several times between Idomeneo and Tito, with often less than ideal Mozartian singers in that VAST theatre, but I must admit: I've gotten softer on them lately, and I actually find them rather charming and quaint, if not nostalgic.
And then, there is the music itself, of course. This is one of the most gut-wrenching, emotional texts and music Mozart ever set and composed, certainly the highest point of the opera, both musically and dramatically. Do not be fooled by the fact that a 14yo boy wrote this: it still was a DIVINE YOUNG GENIUS that created this magnificent, large scale duet full of virtuosic passages that he would NEVER get to repeat later in his short life, unfortunately. Do not be prejudiced by this rigorous, if not archaic, genre and style that is the opera seria. (But then, I wouldn't blame you, Mozart wasn't too big of a fan of it himself.)
All in all, try to be open-minded and even perhaps get to know a little bit about it. The already-mentioned Dessay-Bartoli-Rousset recording is the current gold standard, and it comes with EVEYRTHING you want to know about it. Oh jeez, did I end up recommending that recording, through this wonderful TH-cam clip? I sure hope I did NOT offend Ms. Kenny, Ms Murray, and most of all, Maestro Harnoncourt! 😊
At fourteen years old Mozart was certainly unaware of how great this duet would be in the ears of present day listeners. He just wrote another duet. It is mature enough to be in Cosi Fan Tutti written about 20 years later.
Фантастика!!!!!
Thanks a lot for posting, Jaason53. So, so sweet...and it is Harnoncourt's strong hand which made it such. Excellent mastery in what is one of the most generous expressions of (teenage) humanity: Mozart's music.
Perfection
Muito lindo, maravilhoso! :)
perfect
Bravissimi!
How many 14 year olds can even read or write properly now, let alone write music like this?
There are more now than in Mozart's time.
❤🏵💮🌸💐🌺🌿🍋🌹🇻🇦✝️🇻🇦🌹🍋🌿🌸💮💐🏵❤📚🤗🌺💒🎶🌹😇😨🫂🇲🇬🇻🇦🍋🌹🌿🐯🌻🪢⛑🇻🇦🍋✝️🍋🇻🇦🌹🌿🌸💐💮🏵🌿🍋🇻🇦🌹🪢🌻💮✝️🌻🪢🙋♂️
Hurra, alle BLUMEN sind schon da 😍
Duetto maturissimo, sebbene scritto a 14 anni (come l'intera opera). Non sfigurerebbe in un'opera più tarda, tipo il Così fan tutte. Sarebbe un duetto perfetto tra Fiordiligi e Dorabella.
I'm super impressed she was able to run off in those platforms at the end!
elvenlove Like anything else in good opera, plenty of practice.
@KikinaGR ¡Y lo compuso a los 14 años! o.O
Чистая речь
They should add tje subtitle.
How come London and NY never do this opera?
mozartian
이준환 Being by Mozart I suppose it would be.
DIEU😇🌿🌺⛑🎶 ACCUEILLEZ DÉSORMAIS DANS VOTRE PARADIS🌸🇻🇦🌹🍋 L'ÂME IMMENSÉMENT CATHOLIQUE🪢🌻✝️🌻🪢🌺 de WOLFGANG AMADEUS MOZART❤🌹💐🌸🇻🇦🍋📚🏵💮🌻🌺🇲🇬🫂🇲🇬🌿🎶🐰🍋💒🤗🪢🙋♂️ !!!
Lieber Franc, segne auch die Protestanten, mansche lieben auch Mozart 😂Danke für die Blumen ❤
L opéra a emmener sur une ile deserte
Can you explain what does this image mean? Is there a real idea which is hidden and that we, non-French, cannot get? Is it just "baratin" or does it mean something concrete?
Or is just shooting in the breeze, speaking to impress, "la bella parola", and mean nothing, like the French like to do?
Roo Bookaroo I SO LOVE MITHRIDATE
If I had to live on a desert island I shall take Mithridate (and I Puritani)
cerise392
I do too. I love all Mozart's youth music, including all his 8 youth operas. I adore La Finta Semplice, Bastien und Bastienne, Ascanio in Alba, Il Re Pastore, Mitridate, Lucio Silla, and the phenomenal La Finta Giardiniera.
However, what is it you say about Mitridate (no "h" please in the name): What's the lowdown on mentioning a desert island? OK.it does mean that you love the opera too. Big deal! But it says nothing about the opera itself. It's centered on your feelings, on yourself, but not on the objective work. This has nothing to do with Mozart, Ponnelle, or the great singers he selected.
That is what most commenters here also keep doing: expressing their oohs and aahs about the singer, or the work - supreme praises which in fact express nothing but their vote of approval and admiration.
Only a very few commenters are able to say some more and comment about the value, technical merits, or special aspects of the work, the production, or the singer.
That is what I hate about French comments on art or music in general, because they're great at rhapsodizing about their own feelings (they play endless variations on their own violin, that are worthless for everybody else), but very weak when talking about the singers or the opera.
When you read people like the unsurpassable HERMANN ABERT, the insightful ALFRED EINSTEIN, or the best connoisseur of Mozart's early music, STANLEY SADIE, you realize how weak and uninformative are most of the comments on TH-cam. Only shooting the breeze to just say: "So beautiful, so remarkable. I love it so much, etc..", most of it empty air, which can be, and is, said about nearly every good musician or any notable singer.
The French are the worst at this subjective rhapsodizing.
I usually avoid reading anything written by a French commenter, because there's nothing to learn, only listening to their vague ideas that have no real concrete value, and can be discarded or ignored. Like your desert island praise. They contribute nothing to our knowledge and understanding of the music, or the singers.
the real king was MITHRIDATE ré di ponto (in French)
I also love LA CLEMENCE DE TITUS
Giulia has beautiful arias
SIFARE:
Se viver non degg’io,
Se tu morir pur dei,
Lascia, bell’idol mio,
Ch’io mora almen con te.
ASPASIA:
Con questi accenti, oh Dio!
Cresci gli affanni miei,
Troppo tu vuoi, ben mio,
Troppo tu chiedi a me.
SIFARE:
Dunque...
ASPASIA:
Deh taci.
SIFARE:
Oh Dei!
ASPASIA, SIFARE:
Ah, che tu sol, tu sei,
Che mi dividi il cor.
Barbare stelle ingrate,
Ah, m’uccidesse adesso
L’eccesso del dolor!
Кошерно
treffenden Bezeichnung für die Göttliche Musik?