#alessandro stradella

[lesser-known-composers]

Alessandro Stradella (1643-1682) - Qui dove fa soggiorno: Qui dove fa soggiorno ·

Rosita Frisani ·

Alessandro Stradella Consort · Estévan Velardi

[journalofanobody]

Alessandro Stradella: Sinfonia in D minor for Violin & B.c No. 22

[operaportugues]

Pietà, Signore (Alessandro Stradella) - Academy of St Martin in the Fields 1997

Canção de 1660: link. Dmitri Hvorostovsky - barítono Sir Neville Marriner - regente

Pietà Signore ou Aria di Chiesa é uma ária de igreja do barroco médio, cuja configuração musical é mais frequentemente atribuída a Alessandro Stradella. O autor do texto é desconhecido, embora, como acontece com a maioria dos textos religiosos do período, os temas de arrependimento e perdão sejam predominantes.

Letra em italiano: Pietà, Signore, di me dolente, Signor, pietà! Se a te giunge il mio pregar Non mi punisca il tuo rigor: meno severi, clementi ognora, Volgi i tuoi sguardi sopra di me! Non fia mai che nell’inferno sia dannato nel fuoco eterno dal tuo rigor: gran Dio!

Tradução para português: Piedade, Senhor, de mim que estou sofrendo, Senhor, tem piedade! Se minha oração chegar a ti que teu rigor não me castigue: menos severo, mais clemente a cada vez, volte seus olhos para mim! Não permitas que eu esteja no inferno para ser condenado ao fogo eterno por teu rigor, grande Deus!

Mario Lanza

Franco Corelli 1963

Mario del Monaco 1966

Luciano Pavarotti (Montreal, 1978)

Alfredo Kraus

José Carreras (Granada, 1990)

Angela Gheorghiu (Londres, 2001)

Carlo Bergonzi 2016

Tigran Ohanyan

[landrysg]

New on Youtube: some Baroque music for your Saturday morning:

Alessandro Stradella (1639-1682), Complete Sinfonias

[literaturereviewhelp]

This paper focuses on the study of a castrato’s phenomenon from the perspective of the history of music. To better understand the role castrati singers played in opera, along with the impact of castration, the nature of their singing and bodily effects are explored. The prohibition of male voices by the Italian church resulted in the need for more voices, and thousands of boys were castrated. While only some of them made brilliant careers as singers, many boys died or were not successful in this field. It is especially important to identify if castration is directly associated with a soprano voice and if there are living castrati who can produce such tones. The paper also discusses several examples of castrati virtuosos and clarifies the way modern orchestras approach this issue. Research question: is the desire to control and manipulate nature a guaranteed path to the virtuoso castrato voice? Introduction Male castration is a process that is performed for many centuries, beginning with the Biblical images and ending with the 19th century, when it was banned in Europe. A castrato voice ideal appeared in the 17th century as a result of the prepuberal surgery, which led to such singing voices as soprano or contralto. While the voices of castrati were especially valued in opera, their bodies transformed dramatically, lacking testosterone. Today, there are no living castrati, and the issue of the appropriateness of this operation is ambiguous. This paper aims to address the following research question: is the desire to control and manipulate nature a guaranteed path to the virtuoso castrato voice? History of Castrato Virtuosos The Baroque era of the 1650-the 1750s was the time of greatness of castrati singers. During this period, 70 percent of opera singers were castrati, yet the tradition appeared in the 16th century when the Roman Catholic Church in Italy forbade women to speak or sing in the church. This caused an acute shortage of male voices that would be able to replace the female soprano. The emergence of Belcanto is associated with the development of a homophonic style of vocal music and the formation of Italian opera. Monteverdi, Cavalli Honor, and Scarlatti are the most famous representatives of the so-called early bel canto, which is marked by expressive cantilena, an elevated poetic text, a dramatic effect, and pathetic. Among the outstanding bel canto singers of the second half of the 17th century there are Farinelli, Stradella, Pistokki, Ferry, and others. Bernacchi, Creshentini, and Uberti (Porporino), and Caffarelli were less prominent representatives of castrati singers. One of the challenges faced by the castrati singers was their physical appearance and associated changes. Their bodies were often asymmetrical since they had long body parts, narrow shoulders, and an unusually large upper torso, yet their larynx remained as narrow as that of a child. Thus, their voices remained identical to those of children but possessed the strength of an adult. While the voice was unusually flexible, its owner could take several octaves. At the end of the 18th century, the tradition began to eliminate under various prohibitions for castration. The last role for the male soprano was written in 1824, and in 1870, the castration of young boys was officially banned. In the Vatican, the singing of castrati continued until the beginning of the 20th century. Despite the fact that his contemporaries called him the angel of Rome, Alessandro Moreschi, the last castrati singer, was never considered a brilliant soloist. As the last representative of a 350-year-old tradition, Moreschi has earned a special place in the history of music. In addition, it is his voice that sounds in the last known recording of castrati singing. Modern View on Castrati Singers It is impossible to convey the voice of castrati today, and there are no living castrati. The best falsettos do not fit into the tradition of baroque operas since they do not have the range and power that the castrato voices possessed. Despite the fact that thousands of talented boys underwent castration, only a few became truly popular and loved by the public. The study by Zanatta et al. explores the biological profile of Gaspare Pacchierotti using computed tomography and anthropological analyses. It is revealed that the occupational markers of this singer reflect the hormonal effects of the castration surgery. Namely, the body parts were influenced by a lack of male hormones, the disorders of the spine and osteoporosis occurred, and the ribs were like those of senile men. Based on this study, one may suggest that the surgery for art was associated with significant body damage and long-term negative consequences. Therefore, the desire to manipulate the voice based on castration cannot be regarded as a safe and ethical way to achieve it. Today, the evidence shows that no castrati singers live and produce operas. It seems that there are also no known strategies to have their voices without the surgery. Even in large opera houses, there is a very small baroque repertoire. Theaters such as the Vienna and Paris Opera or Covent Garden stage a baroque opera only once a year or once every two or three years. These theaters that decided to stage more baroque operas are likely to run into difficulties as a few singers specialize in baroque repertoire. Not to mention how expensive it is to maintain an orchestra of ancient instruments, without which the authentic sound of operas of the 17th-18th centuries is impossible. Modern orchestras try to play old music, but the violins sound hard with a lot of vibratos, and the voices of contralto and soprano are replaced by countertenors. For example, Max Cencic and David Hanson are prominent singers that have a countertenor’s voice, yet they cannot produce soprano or mezzo-soprano likewise castrati did. Conclusion To conclude, castrati singers were known for their strong and demanded soprano voices that were created as a result of the castration surgery. The 17-18th centuries were characterized as the fluorescence of castrato voices, which pleased the public in operas. In the 19th century, castration was prohibited since it led to thousands of deaths and had a damaging impact on males’ bodies. Today, there are no living castrati, while it is clear that castration does not ensure a soprano voice. Read the full article

[impossiblestrangercollectionable]

Ma intanto io pago...

Sembra che il famoso giudice Alessandro Rizzo si sia interessato all'umidità del deposito di via Strano, la stradella dove sta l'ufficio postale di Gravina centro, il deposito dell'officina Ford che sta sotto il mio appartamento ereditato alla morte di mio padre (il quale guidò per decenni un vecchio furgone Ford azzurro tutto malandato, lo utilizzava per andare nei suoi giardini o per andare a pescare, ma per hobby, non era il suo lavoro) Adesso sembra che io abbia ereditato qualcosa, ma per fortuna tutto quel che mi si chiede é di pagare quote condominiali, quote estorte con l'inganno a quanto pare...

Non riesco a capire chi siano questi individui ma sembrano essere la Giustizia e la Sicurezza, strani però i metodi truffaldini e tirannici e il fatto che pur sapendo quanto rischio mi tirino sempre in situazioni pericolose per la mia vita

Il documento é molto lungo e oltretutto rischio di pubblicare nomi, indirizzi e date di nascita di privati, quindi mi limito a pubblicare ciò che è per sua natura pubblicabile: l'inizio e la fine, nome di giudice e CTU e costo dei lavori di impermeabilizzazione del deposito che ha fatto causa al condominio nel quale possiedo un appartamento e un garage, che però non sono quelli dai quali arriva... l'infiltrazione d'acqua...!

L'amministratore mi chiede adesso 356,01 euro come quota per il pagamento di quelli che lui definisce i "professionisti" ma a questo piccolo pagamento ha già affiancato molte altre spese decisamente più onerose Il problema qui é se queste spese sono gonfiate e se stanno cercando di derubarci, perché solo le spese per i "professionisti", cioé le spese legali del tribunale, stiamo già sborsando 8.126,92 euro, allego documentazione:

Insomma, é la stagione dello scontrino...! Il problema più grosso è che a quanto pare questi si fanno passare per l'antiterrorismo e in nome di ciò estorcono pagamenti gonfiati o non dovuti e si intascano, come accade al Comune, rimborsi che non rimborsano, e per giunta si sostituiscono a chi veramente lavora o aiuta l'antiterrorismo

Adesso io cosa devo fare? C'è un allarme grosso quanto tutta la via Marconi, sono mesi che mi arriva questo allarme di esplosioni legate a fughe di gas dalla palazzina ad angolo fra via Marconi e via Strano, dal piano strada dove c'è il parrucchiere, il quale oltretutto ha fatto grossi lavori di rinnovo e ristrutturazione questa estate, cosa devo fare? A San Giovanni Galermo abbiamo avuto qualche giorno fa una grossa esplosione dovuta a perdite di gas, ma sappiamo per certo che sono state almeno due piccole bombe su due livelli diversi della casa a provocare l'esplosione, ed è la prima esplosione qui a Catania, mi sembra Il giudice Alessandro Rizzo sembra essere ancora traumatizzato da Capaci, come se ne deduce da questo articolo pubblicato dal giornale La Sicilia, io non so che dirvi, forse l'antiterrorismo pensava di uscirne facendo una colletta condominiale e pagando il pizzo...! Allego un vecchio articolo di giornale di una intervista ad Alessandro Rizzo, il giornale é La Sicilia e con questo direi che il quadretto é completo, o quasi...

Il problema é che la gente che lavora veramente per l'antiterrorismo non se ne va in giro a vantarsene, io sto solo aiutando e in alcuni casi pungolando il terrorismo, non lavoro per l'antiterrorismo, se lavorassi da stipendiata molte cose non mi potrei permettere di farle, ma questi professionisti o in altri casi dei poliziotti che si atteggiano come se fossero qualcuno e poi aiutano a fare truffe io non so come inquadrarli e non capisco cosa starebbero cercando di dimostrare tirando in gioco me, forse che sono io la fasulla o che sono pazza? A me sembra che stanno solo cercando di capire dove sta l'antiterrorismo quello vero e che lo vogliono sapere per poterlo uccidere così come stanno cercando di uccidere me, per poi sostituirsi a noi

[verdiprati]

A few video clips from the Heartbeat Opera / Opera Lafayette co-production of Alessandro Stradella’s La Susanna that I saw at the Kennedy Center this past spring. 

The intriguing “mezzo-contralto” voice that you hear in the first third of the video is that of Sara Couden, one of my personal faves, in the narratorial role of Testo (reimagined as a scholar of women’s studies). 

The middle third features an aria sung by Lucía Martín Cartón in the title role; I felt like I was suddenly seeing her name everywhere last year, and I think her performance in La Susanna demonstrated good reason for her success. She’s an alumna of Les Arts Florissants’ Jardin des Voix training program and displays the refined technical control and sensitive text-reading typical of its graduates.

[hatsunomio]

23年コンサート#50

4月15日　ホーリネス東京中央教会

アンサンブル・ヴェルジェ

土居瑞穂　チェンバロ

廣海史帆　バロック・ヴァイオリン

懸田貴嗣　バロック・チェロ（ゲスト）

中嶋俊晴　カウンターテナー（ゲスト）

A.カルダーラ　2つのヴァイオリンソナタ　第1番へ長調よりラルゴ、アレグロ

ヘンデル　ソロカンタータ「いつも栄光を担いながら」HWV 87より

A.ストラデッラ　6つのシンフォニアより第2番ニ短調

G.B.ボノンチーニ　カンタータ第11番「ひととき私をそのままに」

ヘンデル　「リナルド」HWV 7より「港はすぐそこにあり」

G.バッサーニ　6つのチェロソナタより第3番イ短調

A.カルダーラ　12のカンタータより第5番「せせらぎのそば」

G.B.ボノンチーニ　カンタータ第10番「お座り、私のアマリッリ」より

活躍目覚ましいカウンターテナーの中嶋俊晴をフィーチャーしたプログラム、楽しい！

最初の器楽のみのカルダーラのソナタのアレグロでの懸田さんのグイッと来る溜めでいきなり期待感マシマシに。

次のヘンデルのソロカンタータは、おやっと感じるくらい変わったリズムで始まり、慣れてくると心地よくなるヘミオラが面白い。

器楽のみのストラデッラのシンフォニアは初めて聴いたが、とても好き。シンフォニアというよりファンタジア。ファンタジア的な要素のある音楽は、廣海さんの魅力をさらに引き出すような感じがする（マッテイスとかもそうだ）。

もう前半で大満足だったのだが、さらにまったく未知のバッサーニという作曲家のチェロソナタ（グラーヴェっぽくない3拍子の符点リズムが印象的）があり、そしてボノンチーニの偉丈夫中嶋さんのカウンターテナーの超絶技巧とそれに輪にかけるような廣海さんのヴァイオリンとの競演まであってびっくり。素晴らしい。

for review

[sunset-supergirl]

Happy birthday Alessandro Stradella

[gasparodasalo]

Happy Holidays, and Merry Christmas!

Alessandro Stradella (1643-82) - Cantata "per la Notte del SS.mo Natale," IV: Terzetto: Oh di notte felice. Performed by Cristina Miatello, soprano, Caterina Calvi, contralto, Roberto Abbondanza, bass, and Enrico Casazza/La Magnifica Comunità on period instruments.

[lesser-known-composers]

Alessandro Stradella (1643-1682) ? - Cantatas & Arias for Soprano & Continuo: No. 1, Soffro, misero, e taccio!

Artist: Cristina Fanelli

Ensemble: Alessandro Stradella Consort, Conductor: Estevan Velardi

[lovingsabotage]

Alessandro Stradella - Ah! Troppo è ver: Aria: Sovrano mio bene (Maria Vergine)

[churchofsatannews]

Vox Satanae - Episode 382 

This week we hear works by William Brade, Alessandro Stradella, Domenico Scarlatti, Johann Friedrich Reichardt, Robert Schumann, Paul Dukas, Louis Andriessen with performances by Hesperion XX, Jordi Savall, Alicia Amo, Schola Cantorum Basiliensis, Alessandro de Marchi, Scott Ross, Massimo Spadano, Arthur Schoonderwoerd, The Vienna Philharmonic, Leonard Bernstein, L'Orchestre de la Suisse Romande, Armin Jordan, Cristina Zavalloni, Frederieke Saeijs, The Britten Sinfonia, and Clark Rundella.

Download Episode 382

[opera-ghosts]

Here a picture of the German tenor Fritz Schrödter (1855-1924).

Fritz Schrödter studied at the conservatories in Düsseldorf and Köln. He began his career as an operetta tenor in Northern Germany. During a guest engagement at the Friedrich-Wilhelmstädtisches Theater in Berlin, he was heard by Johann Strauß, who arranged an engagement for him at the National Theater in Budapest in 1876. He sang operetta in Vienna in 1877 and then went to Prague for training in the operatic repertory. He made his operatic debut in 1879 at the German Theater in Prague. Schrödter was a guest at Covent Garden in 1884 and joined the Vienna Hofoper in 1886. He would remain a member of that company until 1915. He was the father-in-law of the great Czech bass Vilém Heš (Wilhelm Hesch).

When he made guest appearance at the Friedrich-Wilhelmstädtischen Theater in Berlin , Johann Strauss heard him and provided in 1876 for him an engagement at the National Theatre of Budapest. In 1877 he came as an operetta tenor of the Ring-Theater in Vienna , then he studied under Kapellmeister Stoltz in Prague . His debut as an opera singer took place in 1879 at the German Theatre in Prague . Here he remained till 1886 and appeared among other things as Don Ottavio in ‘’Don of Giovanni’’, Duke in ‘’Rigoletto’’, Enzo in ‘’La Gioconda’’ of Ponchielli and as David in "Meistersingern". In 1884 he made guest appearance at the Covent Garden in London under Hans Richter. In 1886 he was engaged by the Vienna Court Opera; In Vienna he appeared as Buffo tenor, but also in the lyric tenor roles. Here he sang in three opera premieres of Karl Goldmark: on 19. 11. 1886 in ‘’Merlin’’, on 21. 3. 1896 in "Das Heimchen am Herd", on 2. 1. 1900 in "Ein Wintermärchen", on 6. 2. 1912 in "Die verschenkte Frau" by Eugene d'Albert, also in 1889 in the première of Weber’s "Die drei Pintos". In Vienna he also sang the role of Tonio in ‘’La Fille du régiment’’ of Donizetti, Turiddu in ‘’Cavalleria Rusticana’’, the title roles in ‘’Fra Diavolo’’ of Auber and ‘’Alessandro Stradella’’ of Flotow, Canio in ‘’Pagliacci’’, Assad in Goldmark’s  "Königin von Saba" and Peter Ivanov in  "Zar und Zimmermann"  by Lortzing. Till 1915 he remained a member of the Vienna Opera. In 1884 he made guest appearance at the German Theatre in Prague, in 1890 at the Opera House of Brünn, in 1901 at the Court Opera in Munich (as David in "Meistersingern"), in 1911 at the Opera House in Cologne (as an Iron Stone in "Fledermaus"). In the 1898-1900 seasons he appeared in the festival of Wiesbaden . On 15. 1. 1916 he sang at the Vienna Raimund Theatre in the premiere of the operetta "Das Dreimäderlhaus" by H. Berté. He was at the same time a highly respected concert singer; thus he performed in Vienna in the premiere of "Das klagende Lied" by Gustav Mahler (17. 2. 1901). He lived after his retirement as a pedagogue in Vienna ; he was the father-in-law of bass Wilhelm Hesch (1860-1908).

His repertory was enormous: although he is often considered the predecessor of Arthur Preuss as Vienna's luxury comprimario, and justly so (his most famous role being David in Meistersinger), he was much more than that. In his 29 years at the Vienna Hofoper, he sang Canio 126 times, Wilhelm Meister 103 times, Rodolfo 62 times, Manrico 37 times, Lenskij 21 times, Don Ottavio 27 times, Jeník 77 times, Eisenstein 111 times, Max 68 times, Erik 47 times (but only 7 times Steuermann), José 11 times, Turiddu 86 times; but of course, also many comprimario parts: David 69 times, Peter Iwanow 39 times, Walther von der Vogelweide 86 times. All in all, however, he sang way more leading than supporting parts.

[giorgiomelante]

The imaginary Italian music salon by Rossi-Rosedeni on @DeviantArt

Here is my recent commission, a digital illustration called “an imaginary Italian music salon”. The patron is painted to be surrounded by their favorite Italian baroque composers in the patron’s required composition.

From left to the right:

-Antonio Vivaldi (on violin)

-Tomaso Albinoni (on violin)

-Domenico Scarlatti(in blue-grey coat)

-Pulcinella(the cat which was said to be Scarlatti’s cat and inspired him to compose his Cat Fugue)

-Giovanni Battista Pergolesi (in green)

-Alessandro Stradella (in pink)

-the person who commissioned this work (in green and blue)

-Giacomo Facco(in red)

On the wall:

-Leonardo Leo

-Leonardo Vinci