ฝัง
- เผยแพร่เมื่อ 27 มิ.ย. 2008
- Nicola Porpora
Polifemo "Alto Giove"
Aci's aria from the act III, sc. 5
Text: Paolo Rolli
Forces: Soprano, strings & continuo
In part from the website 'Cantata Editions' (www.cantataeditions.com):
''The aria made famous through the film 'Farinelli: il castrato' Beautiful and virtuosic, it concerns Acis thanking Jupiter for making him immortal. In two sections, the beautiful lento with its slowly moving harmony and sinuous vocal line, and an unexpected andantino middle section."
Austrian sopranist (formerly a Vienna Boy's Choir member) Arno Raunig's recording is the only version I could find that shows the piece in its original 'da capo' form, complete with the andantino part. It is also interesting to hear the aria with only piano accompaniment.
In this recording:
Arno Raunig, sopranist
Paul Weigold, piano
Original Text:
Alto Giove, è tua grazia,
è tuo vanto il gran dono
di vita immortale
che il tuo cenno sovrano mi fa.
Translation (by Marc D.):
Almighty Jupiter, your grace
and your fame are the great gift
of immortality
that you give me in a sovereign gesture.
(...) - เพลง
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Bravo pour tout ! Rare d'ecouter en suivant la composition de Porpora si bien interprétée.
Большое спасибо! Эта музыка для меня - это открытие для меня нового композитора Николо Порпора! Ваше исполнение интересно. Идея с нотами и текстом - интересная!
Thank you very much! This music for me is an opening for me the new composer Nicolo Porpor! Your execution is interesting. Idea with notes and the text - interesting!
I keep getting impressed by Porpora. Thanks for posting.
in questi brani c'è un'incredibile potenza armonica... questa musica è oggi molto attuale. Sotto certi punti di vista è più profonda la sperimentazione armonica barocca di quella classica.
porpora fa parte di quella schiera di compositori che oggi purtroppo sono rari ad eseguirsi... peccato, speriamo nel futuro!
Accidentally stumbled upon this interpretation and I think this is exquisitely original and beautifully sung. Bravo!
What a find! You are outdoing yourself with this extraordinary "Alto Giove" series. Many thanks.
Excellent job and beautiful voice! Thanks also for the text and music, Civileso!
Porpora composed some very beautiful music, and I am happy to hear several recordings of this particularly fine aria, especially in this complete form. I am pleased to hear this interpretation, although Raunig does have a very pronounced vibrato which I find disturbing. Thank you for posting the video.
I too found his vibrato somewhat overwhelming and distracting, but overall enjoyed the recording.
Grazie per la tua gentile esposizione per nostro conoscimento e comprensione. Un saluto cordiale.
В видео civileso много хорошей музыки от замечательных композиторов и замечательных исполнителей. Спасибо! P.S. Фишка: нотная запись музыки, это интересно.
extraordinary voice of that singer! I cry over this beautiful song and wanna listen to next song by Porpora
I have liked all of the many interpretations I have heard, including this one. His vibrato is his way.
Thank you so much! Specially because we can hear whole aria...
I love it!
omg im crying like crazy ! i have seen 3 people and my self sing this song . but no where neer as good as him he is a true angle !
You should check out Jaroussky's interpretation of this piece! It's also really good
wow beautifull, i hadn't heard it
I'd agree that the vibrato was a little much at times but I loved this man's interpretation and ornamentations. I especially loved the High G's! :-)
very very interesting.
non so leggere la musica ma mi pare che si attenga in modo perfetto allo spartito! Non si concede TROPPE DIVAGAZIONI. BRAVO
really interesting rendition even if the voice is quite ' small' and unusual coda with the adagio theme from Albinoni !
Huh?, That coda or middle part that you're talking about is really in the piece originally. That's originally Porpora. This type of aria (da capo) with middle part break is customary of the period. Singers usually sing the 1st part as written and decorated during the da capo (repeat) depending on how they want it as long as it fits the chord. Obviously, Raunig is more of a sopranist. Thus, his voice may sound smaller compared to the mezzos or altos.
@GoBogi that is partially true. All "corone" (I'm italian I don't know how to call in en the symbol on the "A" of "Alto") virtually need fiorituras; PF.Tosi prescribes to do little ornamentation for the A part, that's not nothing at all: "Nella prima non chieggono, che ornamenti semplici, gustosi, e pochi, affinchè la composizione resti intatta: Nella seconda comandano, che a quella purità ingegnosa un artificio singolare si aggiunga". Sorry if I cannot translate it,that's the "Aria" chapter ;-)
at the end there's nice reminiscence of famous Adagio by Albinoni/Giazotto
Unfortunately most of the translations you read on TH-cam of Italian old texts in English are wrong. Here, I am not very sure of the English translation. The old poetic syntaxis is not always immediately intelligible also for Italian native speakers. I.m.o., the correct one for this is: Almighty [high] Jupiter, the great gift of immortality (that you give me through your sovereign gesture) is your [main] grace and your fame. If ever such words had a meaning out of the vowels to sing ...
Vibrato,feminine.Great voce.
В чем состоит слушание музыки? В том, чтобы получать наслаждение, удовольствие, услажлать слух. В начале были те, ноты, где автор дает фантазию для певца, и этим воспользовался певец, также он использовал вибрато и было это прекрасно. Каждый украшает композицию как может, это барроко,, а не соедневековая композиция.( Вспомните, как одевались в те времена, рюшечки, вопотники с кружевами, обувь с бантами и так далее).
Мне абсолютно не мешало вибрато, кому оно мешает могут слушать другого певца. Дал, мне наслаждение, ужовольствие, Arno Raunig? Без условно, дал, тысячу раз говорю ему - да.
I'll try to translate, friend ed amico: "In the first (instance?) they do no call for anything but ornaments that are simple, tasteful and few so that the composition remain intact. In the second (instance) they command that a singular artifice be added to that ingenious purity"
That`s true.
Thank you so much! Specially because we can hear whole aria...Anyway, I want to ask if it OK to sing DC aria and not to respect original form? For ex. just to sing the A part, as so many people recorded it..?
I think that's alright especially in todays audience who has short attention span. or you may opt to sing the da capo or repeat with your own decorations (ad libs) to enliven the vocal part and display your voice. It's a case to case basis like when the one asking you to sing has set a time limit for your performance. E.g. this interpretation is almost 10 minutes. If you're only asked to have a maximum of 4 minutes obviously, you cannot sing the whole uncut aria.
Please explain how your translation differs from mine. You only moved words around while I tried to respect the verses as closely as possible.
(To GoBogi) Those "out-of-place embelishments" belong to the baroque period, and so does the high note at the begining of the "song". To sing baroque music just as it is written, is not the rihgt way.
zarihueya555 the high note does NOT belong at the beginning. Ornamentations were reserved for the da Capo part. Furthermore, this is an Adagio hence requires less ornamentation compared to an Allegro. The first note is a messa di voce, one of the most difficult techniques mastered by few. You can read about this in both in Tosi and Mancini although they belonged to a different school than Porpora. Read guys, read!
Very disapointed about the first word. I like ornaments, but in some case, you should just sing the written note. It's a bad taste to change music to show your voice on the first word.
Your voice is wonderful :)
I love this man's voice. But I must agree with the others, a little too much vibrato at times. Still, I enjoyed it.
Errata corrige: "they do not call" (sorry)
this has nothing to do with Baroque style, such a vibrato could suit XIX and XX cent. opera...
I just love his voice, but I wish he had less vibrato and didn’t kill almost every trill.
The first long note was written for a long messa di voce according to the Neapoleatan style. This interpretation lacks of style and taste, the pronunciation is literally horrible, the vowels impure and the consonants are hardly audiable. It is not a performance but rather a sound masturbation. It is obvious that the performer has no idea what this aria is about.
to much vibrato but nice singing