Salieri - La Passione di nostro signore Gesu Cristo (Christoph Spering)

 

In the history passion oratorio composition in the 18™ century, Metastasio's poem La Passione di Gesu Crista (1730) constitutes an important step towards the new aesthetics of sentimental descriptions of suffering in its total rejection of the literally recited biblical accounts of the passion. Metastasio's libretto follows genuinely theatrical ideas in the way it completely relinquishes the words of the bible and the person of Jesus and became extremely popular - not only - in Catholic areas of Europe during the entire 18m century. The fact that many renowned composers approached this libretto with their own compositions may serve to give an impression of the huge effect Italian passion oratorios and the emphasis on secular tendencies had during that time.

Performer:
Maddalena - Melba Ramos (Sopran)
Giovanni - Franziska Gottwald (Alt)
Pietro - Florian Mock (Tenor)
Giuseppe d'Arimatea - Hanno Müller-Brachmann (Bass)
Cologne Chorus Musicus
Das Neue Orchester
Dirigent - Christoph Spering

Tracklist:
CD1:
01 Parte I. Ouverture
02 Recitativo (Pietro): Dove son?
03 Recitativo (Pietro): Ingratissimo Pietro
04 Aria (Pietro): Giacche mi tremi in seno
05 Recitativo (Pietro): Ma qual dolente stuolo
06 Coro: Quanto costa il tuo delitto?
07 Recitativo (Pietro): Maddalena, Giovanni, Giuseppe, amici
08 Aria (Maddalena): Vorrei dirti il mio dolore
09 Recitativo (Giovanni, Giuseppe d'Arimatea): O piu di noi felice Pietro
10 Recitativo (Giuseppe d'Arimatea): Torbido mar che freme
11 Recitativo (Pietro, Maddalena, Giovanni): Barbari! O crudeli!
12 Aria (Giovanni): Come a vista di pene si fiere
13 Recitativo (Pietro, Giovanni, Maddalena): E la Madre frattanto in mezzo all'empie squadre
14 Aria (Maddalena) e Coro: Potea quel pianto
15 Recitativo (Pietro, Giuseppe d'Arimatea, Giovanni): Come inventar potea
16 Aria (Pietro): Tu nel duol felice sei
17 Recitativo (Giovanni): Dupo un pegno si grande d'amore
18 Duetto (Pietro, Maddalena): Vi sento, o Dio
19 Coro: Di qual sangue, o mortale
CD1:
01 Parte II. Recitativo (Pietro, Giuseppe d'Arimatea, Maddalena, Giovanni): Ed insepolto ancora
02 Aria (Giovanni): Ritornera fra voi
03 Recitativo (Giuseppe d'Arimatea): Qual terribil vendetta
04 Aria (Giuseppe d'Arimatea): All'idea de' tuoi perigli
05 Recitativo (Pietro): Le minaccie non teme
06 Aria (Pietro): Se la pupilla inferma
07 Recitativo (Maddalena, Giovanni): Pur doverbbe in tal giorno
08 Aria (Giovanni): Dovunque il guardo io giro
09 Recitativo (Maddalena): Giovanni, anchi' io lo so
10 Aria (Maddalena): Ai passi erranti
11 Recitativo (Pietro): Non senza guida
12 Aria (Pietro): Se a librarsi in mezzo all' onde
13 Recitativo (Maddalena, Giovanni, Giuseppe d'Arimatea, Pietro): Ah, del felice marmo
14 Coro: Santa speme tu sei ministra

Download :
http://www.filesonic.com/folder/1155171
or
http://www.fileserve.com/list/2pCwTFK

Buy :
http://www.amazon.co.uk/Salieri-Passione-nostro-signore-Cristo/dp/B0001TZXMA

Thanks to ArlegZ

Amadeus (1984) A fictional story

 

In past a well known film named Amadeus of Milos Forman had a great success everywhere in the world.

This was an impressive movie with great played music from Mozart.

But the main story that Forman is present to us is totally fantastic and has nothing to do with reality.

As we know from the most respectful historians in music, Salieri help a lot Mozart in presenting and choosing his work many times to the people and they even compose a musical work together.

Antonio Salieris work was so important and genius in his time that Mozart not only highly respect him but also influence him in a great extend in his creating his opera structure at his first steps.

Today we see this picture of greatness in Salieris music because we have many good recordings of his work and so we understand why he was so successful.

    

Portrait of Salieri 

by 

Joseph Willibrod Mähler.

Antonio Salieri (18 August 1750 – 7 May 1825) was an Italian classical composer, conductor and teacher born in the Republic of Venice, but who spent his adult life and career as a faithful subject of the Habsburg Monarchy.

Salieri was a pivotal figure in the development of late 18th century opera. As a student of Florian Leopold Gassmann, and a protege of Gluck, Salieri was a cosmopolitan composer who wrote operas in three languages. Salieri helped to develop and shape many of the features of operatic compositional vocabulary and his music was a powerful influence on contemporary composers.

Appointed the director of the Italian opera by the Habsburg court, a post he held from 1774 to 1792, Salieri dominated Italian language opera in Vienna. During his career he also spent time writing works for opera houses in Venice, Rome, and Paris. His dramatic works were widely performed throughout Europe during his life time. As the Austrian imperial Kapellmeister from 1788 to 1824, he was responsible for music at the court chapel and attached school. Even as his works dropped from performance, and he wrote no new operas after 1804, he still remained one of the most important and sought after teachers of his generation and his influence was felt in every aspect of Vienna's musical life. Franz Schubert, Ludwig van Beethoven and Franz Liszt were among the most famous of his pupils.

Salieri's music slowly disappeared from the repertoire between 1800 and 1868, and was rarely heard after that period until the revival of his fame in the late 20th century. This revival was due to his dramatic and highly fictionalized depiction in the play and film Amadeus (1979, 1984) by Peter Shaffer. His music today has regained some modest popularity via recordings. It is also the subject of increasing academic study and a small number of his operas have returned to the stage. In addition there is now a Salieri Opera Festival[1] sponsored by the Fondazione Culturale Antonio Salieri and dedicated to rediscovering his work and those of his contemporaries. It is developing as an annual autumn event in his native town of Legnago where a theater has been re-named in his honor. 

http://en.wikipedia.org/wiki/Antonio_Salieri