Gente, gente, all'armi, all'armi!...Contessa, perdono! (Mozart: Le nozze di Figaro)
ฝัง
- เผยแพร่เมื่อ 26 ก.ย. 2024
- Wolfgang Amadeus Mozart: Le nozze di Figaro K. 492
Salzburg, 2015
Wiener Philharmoniker
Conductor: Dan Ettinger
Stage director: Sven-Eric Bechtolf
Luca Pisaroni (Conte Almaviva)
Anett Fritsch (Contessa Almaviva)
Martina Janková (Susanna)
Adam Plachetka (Figaro)
Margarita Gritskova (Cherubino)
Ann Murray (Marcellina)
Carlos Chausson (Don Bartolo)
Paul Schweinester (Don Basilio)
Franz Supper (Don Curzio)
Christina Gansch (Barbarina)
Erik Anstine (Antonio)
Lyrics:
IL CONTE
Gente, gente, all'armi, all'armi!
FIGARO
Il padrone!
IL CONTE
Gente, gente, aiuto, aiuto!
FIGARO
Son perduto!
BASILIO ed ANTONIO
Cosa avvenne?
IL CONTE
Il scellerato
m'ha tradito, m'ha infamato
e con chi state a veder!
BASILIO ed ANTONIO
Son stordito, son sbalordito,
non mi par che ciò sia ver!
FIGARO
Son storditi, son sbalorditi,
oh che scena, che piacer!
IL CONTE
Invan resistete,
uscite, madama,
il premio or avrete
di vostra onestà!
Il paggio!
ANTONIO
Mia figlia!
FIGARO
Mia madre!
BASILIO, ANTONIO e FIGARO
Madama!
IL CONTE
Scoperta è la trama,
la perfida è qua.
SUSANNA
Perdono! Perdono!
IL CONTE
No, no, non sperarlo.
FIGARO
Perdono! Perdono!
IL CONTE
No, no, non vo' darlo!.
BARTOLO, CHERUBINO, MARCELLINA, BASILIO,
ANTONIO, SUSANNA e FIGARO
Perdono! Perdono!
IL CONTE
No, no, no!
LA CONTESSA
Almeno io per loro
perdono otterrò.
BASILIO, IL CONTE e ANTONIO
(Oh cielo, che veggio!
Deliro! Vaneggio!
Che creder non so?)
IL CONTE
Contessa, perdono!
LA CONTESSA
Più docile io sono,
e dico di sì.
TUTTI
Ah, tutti contenti
saremo così.
Questo giorno di tormenti,
di capricci, e di follia,
in contenti e in allegria
solo amor può terminar.
Sposi, amici, al ballo, al gioco,
alle mine date foco!
Ed al suon di lieta marcia
corriam tutti a festeggiar!.
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The silence before Contessa, perdono! The most beautiful music in the world.
OMG!!! I was going to comment about that dramatic long pause and complete silence before "Perdono"...makes me well up in tears EVERY SINGLE TIME...❤❤❤
Most beautiful melody ever.
Definitivamente Mozart era un extraterrestre. Es imposible que un ser nacido en este mundo pudiera crear tanta belleza en tan poco tiempo
This "Contessa Perdono" is amazing. Perfectly timed!
The beautifulness of harmony is maybe one of the greatest in all operas.
Such emotion, such beauty. What a genius that man was.
Forgiveness.........like the word of an angel, Mozart was touched by God !
Thanks a million for the excerpt of the libretto..
Eternel comme l'amour ! Mozart est amour !
Sublime...
Sound of God delivered by the Angel during his short stay with human.
Que magníficas las pausas
WONDERFUL.
Best ever.
Wat een baas, die Mozart!
1:05 out of this world
1:38 - I'm crying. Why is Le nozze even considered a comedy?! :'(
Cause she forgive him
In Mozart's time, any opera that wasn't in the format of an "opera seria" was an "opera buffo" . If it wasn't written in Italian, it wasn't known as an opera. In German, it was a "singspiel" , which is what "The Magic Flute" was known as initially.
In traditional theatere, and thus opera, anything that ends happily is a comedy, while things ending sadly are tragedies. Besides, there is plenty of funniness in this, but it's a comedy in the Greek sense. It's happy because she forgives him and they all end up with their true loves. It teaches us about the evil of adultery and betrayal of love, without preaching, with scenes of hiding under beds and in closets to hide affairs. It's like how the opera Gianno Schicchi teaches the evil of greed through hiding in closets, etc. to attain money. There is an epilogue, comedically done, but clearly a lesson about the vice of greed...
1:38 Contessa Perdono
8 people who gave dislike think there are many notes :)
1:27 - 2:47 himmlisch
Who are the woman singing?
Anett Fritsch (Contessa Almaviva), Martina Janková (Susanna), Margarita Gritskova (Cherubino), Ann Murray (Marcellina), and Christina Gansch (Barbarina)
Nel film Amadeus, a questo punto l'imperatore iniziò a sbadigliare...qui si sarebbe addormentato !
Tempi troppo dilatati.... comunque bravi !
Pisaroni is overdoing it and it becomes almost farcical. The begging of forgiveness is not a desperate act, as he is portraying it with his body language, but a tense and intense desire. Besides, he stretches the notes too much. Pity, good voice though.
Compared to Bo Skhovus, he is a model of restraint
Perhaps he is trying to claim some territory, as what follows is ethereal. Who is she?
The staging is boring and doesn’t match the music
There’s always one 😂
Awfull production!
Spell awful correctly!