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LOrfeo: Die Opern der Welt (Italian Edition)

Hier soll die Sonne bewundern eure Reigen, die viel lieblicher sind als jene, mit denen die Sterne bei dunkler Nacht am Himmel den Mond umtanzen. Ritornell Verlasst die Berge, etc. Nun hat mein Schicksal sich gewendet und meine Klagen in Jubel verwandelt. Weh, hartes, erbarmungsloses Schicksal! Nymphe, was bringst du? Wenn aber ein grausames Schicksal mir dies versagt, werde ich bei dir im Reich der Toten bleiben.

Lebt wohl Himmel und Sonne! Es ist keinem Sterblichen erlaubt, dieses Wasser zu befahren, und kein Lebender darf bei den Toten wohnen. Orpheus bin ich, der den Schritten Eurydikes durch diese finstere Ebene folgte, die noch niemals ein Sterblicher betrat. So will ein grausames Schicksal, dass ich in diesem Todesschrecken fern von dir, mein Herz, sein muss und vergeblich deinen Namen rufe und betend und weinend vergehe? Wenn auch meine Leier kein Mitleid in seinem harten Herzen wecken konnte, so konnten doch seine Augen bei meinem Gesang dem Schlaf nicht widerstehen.

Die Zeit ist da, um ans andere Ufer zu gelangen, denn niemand verwehrt es. Mut muss eingesetzt werden, wo Bitten vergeblich war. So habe ich es beschlossen. Wird er seinen Verstand einsetzen und verhindern, dass jugendliches Verlangen ihn besiegt und er das strenge Verbot vergisst?

Denn du hast im Reich des Tartarus die steinernen Herzen bezwungen. Was Pluto verbietet, befiehlt die Liebe. Und ich dulde es? Orpheus wendet sich um. Sieh, ich will dir folgen; doch wer verbietet es mir, weh mir? Ist es ein Traum oder Phantasiebild? Ewigen Ruhm aber verdient nur der, der sich selbst besiegt. ECHO Du hast geweint! ECHO Es ist genug!

L'Orfeo Barockorchester Linz

Es ist niemals der Rat eines weisen Herzens gewesen, der eigenen Leidenschaft zu dienen; doch ich sehe, dass dir Schande und Gefahr drohen, deshalb komme ich vom Himmel, um dir Hilfe zu bringen. Hier bin ich, bereit deinem Rat zu folgen, himmlischer Vater, und zu tun, was du mir befiehlst.

Doch wenn du ewiges Leben geniessen willst, steig mit mir zum Himmel empor, denn er steht dir offen. I am Music, who in sweet accents can calm each troubled heart, and now with noble anger, now with love, can kindle the most frigid minds. Singing to a golden lyre, I am wont sometimes to charm mortal ears; and in this way inspire souls with a longing for the sonorous harmony of heaven's lyre.

Hence desire spurs me to tell you of Orpheus, the immortal glory of Pindus and Helicon, Orpheus who drew wild beasts to him by his singing, and who subjugated Hades by his entreaties.

List of Orphean operas

Now while I alternate my songs, now happy, now sad, let no small bird stir among these trees, no noisy wave be heard on these river? Today fair Eurydice's heart, formerly so disdainful, has been touched with compassion; today Orpheus has been made happy in the bosom of her for whom he once sighed and wept so much amongst these woods. Therefore, on so happy and auspicious a day which has put an end etc.

NYMPH Ye Muses, the honour of Parnassus, beloved by heaven, tender consolation to the dejected heart, let your harmonious lyres rend the dark veil from every cloud; and while we today, on well? Here let the sun behold your roundelays, lovelier far than those which the stars in heaven dance to the moon in the darkness of night. Ritornello Leave the mountains, etc. Then let these lovers' locks be honoured by you with fair flowers, that now they may rejoice, happy at the ending of torments, satisfied in their desires. Let some happy song that Love may inspire bear witness to your heart.

ORPHEUS Rose of heaven, light of the world, and worthy offspring of him who holds the universe in thrall, O Sun, who dost encircle and see all from thy celestial orbits, tell me, hast thou ever seen a lover more joyful and fortunate than I? Happy indeed was the day, my dearest, when first I saw you, and happier still the hour when I sighed for you, since you too sighed at my sighing; happiest of all the moment when you gave me your white hand as a pledge of pure faith.

Had I as many hearts as eternal heaven has eyes, Or these pleasant hills and verdant May have leaves, all would be full to overflowing with that joy which today delights me. Ask of it, therefore, if you wish to know how gladly it rejoices and how much it loves you.

Come, Hymen, ah come, and let your fiery torch be like a rising sun to bring these lovers peaceful days and henceforth banish afar the horrors and shadows of anguish and grief. Ritornello Here Pan, the shepherds' god, has sometimes been heard lamenting, sweetly recalling his unrequited loves. Ritornello Here the charming dryads, a company always decked with flowers, have been seen gathering roses with white fingers.

Say, did I not then seem to you more wretched than any other? Now Fortune has changed her tune and turned my woes into rejoicing. Once I lived in sadness and sorrow; now I rejoice, and those anxieties that I have suffered for so many years make my present happy state more dear. Through you alone, lovely Eurydice, I bless my torments; after sorrow, one is all the more content, after woe, one is all the happier.

Then continue, with your golden plectrum, to sweeten the air on so blessed a day. Ah, wicked, cruel Fate! Must I then, while Orpheus delights heaven with his music, pierce his heart with my words? What has happened now? Ah, ye gods above, do not avert your kindly gaze from us! Nymph, what news do you bring? MESSENGER In a flowery meadow, with her other companions, she was wandering, gathering flowers to make of them a garland for her tresses, when a treacherous snake that was lurking in the grass bit her in the foot with its venomous fangs. And lo, immediately her fair face lost its colour, and in her eyes that lustre with which she put the sun to shame grew dim.

Then we all, horrified and dismayed, were around her, seeking to revive her ebbing spirits with cold water and powerful spells; but alas! You have gone from me, never more to return, and I remain? No, for if my songs have any power at all I will surely descend to the deepest abyss and, having softened the heart of the King of Shadows, will bring you back with me to see the stars again. Oh, if malign destiny denies me this, I will remain with you in the company of death. Farewell, sky, and sun, farewell! Let not mortal man trust in fleeting and frail happiness, for soon it flies away, and often the precipice is close to the highest summit.

Or rather, who will grant us a living fountain in our eyes that we may weep as we should on this mournful day, now all the sadder for having been more joyful? Today a cruel blast has extinguished the two brightest lights of our woods, Eurydice and Orpheus, one stung by a serpent, the other, alas, pierced by grief.

Let us reverently, shepherds, go to find them and with bitter tears let due tribute, at least, be paid by us to her lifeless body. Thou, my companion and guide, hast led my feeble and faltering steps along such strange and unknown paths where I still hope today to see once more those blessed orbs which alone bring daylight to my eyes. HOPE Here is the horrible quagmire, here the boatman who ferries naked spirits to the far shore, where Pluto has his vast realm of shadows.

Beyond that inky pool, beyond that river, in those wastes of weeping and grief, cruel destiny conceals the one who was everything to you. Now you have need of a stout heart and an entrancing song. Thus far I have led you, but further I may not come with you, for a harsh law forbids it, a law inscribed in iron on hard stone at the hideous threshold of the lowest kingdom, which in these words declares its ruthless intent: Why dost thou turn and abandon me, alas, at this perilous stage? CHARON O you who rashly approach these shores before death, stay your steps; it is not given to mortal man to plough these waves, nor can the living have shelter with the dead.

Perhaps, as an enemy of my lord, you wish to drag Cerberus from the gates of Tartarus?


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Or, your heart inflamed with lewd desire, you long to abduct his dear consort? Curb your foolish presumption, for never more shall living body enter my boat, for I still retain in my soul bitter memories of former outrages, and just anger. To her I have made my way through the turbid air, yet not to Hades, for wherever such beauty is found has paradise in it. I am Orpheus, who follow Eurydice's steps through these murky deserts where no mortal man has ever trod. O serene light of my eyes, if one glance from you can restore me to life, ah, who would deny me solace in my anguish?

You alone, noble god, can give me aid, nor need fear, since I arm my fingers only with sweet strings on a golden lyre, against which the most obdurate spirit steels itself in vain. But far, ah far from my breast must pity lie, a sentiment unworthy of my valour.

Wherefore, like an unhappy errant shade of an unburied corpse, I am to be deprived of both heaven and hell?


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  6. Thus does pitiless destiny will that in this horror of death, far from you, my beloved, I should call your name in vain and wear myself out in imploring and weeping. O give me back my love, ye gods of Tartarus! Sinfonia He is asleep, and even if my lyre cannot arouse pity in that stony heart, at least his eyes cannot avoid slumber at my singing.

    Why do I tarry longer? It is high time to land on the other shore if there is no one to prevent it; let courage prevail if my prayers are to be in vain. Opportunity is a fleeting flower of time that must be plucked at the right moment. He enters the boat and crosses over, singing to the sound of an organ. Whilst my eyes pour forth streams of bitter tears, give me back my love, ye gods of Tartarus!

    He has ploughed the waving fields of the uneven plain and scattered the seed of his labour, whence he has reaped golden harvests. Wherefore, so that the memory of his glory shall live, Fame has loosened her tongue to speak of him who tamed the sea with fragile barque and mocked the fury of the winds of the north and south. Oh, if ever you have drawn the sweetness of love from these eyes, if the smoothness of this brow has pleased you that you call your heaven, and on which you swear not to envy Jove his lot, I implore you, by that fire with which Love set your great soul aflame, permit Eurydice to return to enjoy those days that she used to spend in festivity and song, and console the grief of the wretched Orpheus.

    PLUTO Although stern and unyielding Fate may oppose your wishes, dear wife, yet nothing now may be denied to such beauty, combined with such pleading. Despite the fatal decree, Orpheus may recover his beloved Eurydice. But before his feet are clear of these abysses he may not once turn his eager eyes towards her, for a single glance will inevitably bring about her eternal loss. Thus I ordain it. Now, my servants, make known my will within my kingdom so that Orpheus understands it and Eurydice understands it, and no one hope to change it. Will he apply his mind and not let it be overcome by youthful ardour nor forget his solemn orders?

    Blessed be the day when first I pleased you blessed the abduction and the sweet deception, since, to my good fortune, while losing the sun I gained you. With their latest release Michi Gaigg and her musicians ventured into more familiar realms of repertoire. The overtures and numerous dance movements of the two suites are rendered here in vivid colours.

    Kathleen www.juraa.com OPERA www.juraa.com IS www.juraa.com Italian.

    The overture to Zais, depicting the chaos preceding the creation of the universe, benefit beautifully from these aspects. Rameau proves himself to be ahead of his time with these works and his interpreters follow suit. The listener finds suites here characterised by courtly elegance, bucolic folklore and a considerable amount of finesse and compositional vision.

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    Fono Forum, Arnd Richter, July The first performance caught a dash and left Rameau a wealthy man. The work contains floating gods, scenes from the underworld or from the realms of bad dreams and storms. Rameau seldomly comes across this fresh and crisp. A thunderstorm or even rampaging furies thrill the listener with amused blissfulness. Aachener Nachrichten, Armin Kaumanns, 7 May The noisy gut strings and early winds are treated as colours to a larger picture. At the same time the approach is fresh and eloquently formulated, with pointed rhythms, balanced string playing with the strong bass, transparent middle parts and warm blending violins.

    An earthy sound prevails notwithstanding the lightness of the playing. Michi Gaigg seems to approach all music from a sense of movement. Gaigg and the orchestra deliver the symphonies with bright timbres and vivacious playing, and the historically informed techniques and sounds of a period ensemble are faithfully produced. With cheeky accents but also with unkempt joy in the Cantilenas this exceptional Upper Austrian ensemble presents finest detail on their latest release.

    According to the latter Gluck was neither inspired nor revolutionary in his instrumental compositions. Undisputed at least is the exceptional interpretation. The winds, horns especially, are pretty terrific, and they have some impressive solo licks. The natural flow of the arias and musical gestures is very convincing. They sing with less vibrato and vocal force than their colleagues with Jacobs, rendering their parts with flexibility and fine nuances. The choice for the minor roles present a tie break, except for the role of Ascalax.

    The alto Julie Comparini is definitely a better choice than a male alto. The choirs are performed by the soloists whereas Jacobs disputably uses a big choir. Fono Forum, Matthias Hengelbrock, June On the contrary, the listener is presented by an intimate opera, generally quite soft but then of course with incredible intensity.

    The carefully chosen vocal cast proves to be a truely lucky strike: A truely recommendable recording! And now, 13 years later, a new complete recording, released by deutsch harmonia mundi, takes it up with Jacobs, without directly challenging it. During the next two hours the audience is led through all possible emotional upheavals.

    The result is an organic flow in which French style dissolves into German taste and German style eases into Italian gusto. This new recording proves the opposite: It presents a true alternative to all the famous settings of this myth, on CD as well as on stage. Michi Gaigg found a coherent approach for this sparkling work. Her fine sense of the narrative flow shows in the Accompagnati.

    Musical gesture and dramatic action find a homogenous symbiosis. And that might be the correct approach. Wiener Zeitung, 18 February It is as gripping as a good audio book. Wind instruments in their original sound Amazing what the two natural horns achieve especially in the quintetts for two oboes, two horns and bassoon and the attractive sound of the two clarinets in the larger setting.

    We owe this to the experienced opera singer Nuria Rial with her light and utterly unacademic natural voice. She shares the arias on this CD with the mezzo soprano Margot Oitzinger. Not to mention the mischievous fun that the orchestra conveys. The accompaniment is played with character and wit. Reminding the listener of a nervous opera overture the recital starts with a movement from a Haydn symphony. The clear articulation, the revelling dissonances, the purposeful and often cheeky dialogues, rich colours and dynamic nuances make this clever performance into a huge pleasure. Her voice seems to have it all: The opening movement from the symphony unleashes an emotional storm.

    Excellent sound quality and balance between the singer and orchestra. He finds here, apart from the Haydn arias with the beautiful voices of Nuria Rial Soprano and Margot Oitzinger Mezzo soprano , a ravishing opening of the recording: He was this neither as a composer, nor as a person and definitely not as a man. He is reputed to have not been indifferent to the charms of other women, especially in the context of his chronically bad-tempered wife.

    This might be the reason that so many wonderful arias for a female voice were composed by him, especially those for his longstanding mistress Luigia Polzelli. Rial and Oitzinger provide all that is needed for this repertoire: XXIVb , an aria from Hob. Added to this is the sweet charm of the soprano Nuria Rial with her versatile diction. They revel in details, the strings balance between a slender, elegic, mild, vital and proud sound.

    For example these arias that Haydn composed for his mistress Luigia Polzelli: On the contrary, the score is just read very carefully. In the process it is filled with an astounding freshness and elegance. Add the young soprano Nuria Rial with her impeccable intonation and her glowing timbre and total addiction sets in.

    Wiener Zeitung, 26 March On this new CD she sings with a clear and bright timbre, elegance and honesty, allowing the seemingly simple arias to come to life, making the listener addicted. All of a sudden one understands why Joseph Haydn himself was so proud of his vocal music.

    Stephan Bartels, Brigitte, 11 March She does this attractively and with charm, even adding the odd gentle portamento, inspite of slight blemishes in the intonation. She presents a few arias for mezzo soprano with a pleasantly dark but clear timbre without excessive vibrato.

    They are flexible enough to accompany Nuria Rial with a gentle distance, yet adding stronger accents with Margot Oitzinger. Yes, this is exactly how Telemann should sound. Here we have the perfect mix of drive in the passages strongly influenced by folk music and the necessary noblicity.

    The Orfeo Baroque Orchestra give a vibrant performance of the Rameau. Gramophone Magazine, February In the beginning was chaos, and it must have sounded dreadful. And then, slowly, through natural laws the elements find their positions in the universe. Carsten Fastner, Falter, 26 June Beware when you expect to hear some harmless Baroque music when listening to this CD the first time!

    And introducing sounds and repertoire we are not so well acquainted with yet. And what a feat! Their impulsive musicianship, their creative phrasing, the acribic search for smallest details of affects in this fascinating music hits the nail on the head. Rarely have I listened to a recording with such extremes. If there is much to commend on this disc, there is also much to question.

    Here and in the Rebel, percussionist Rogerio Goncalves provides wonderful rhythmic counterpoint. Julie Anne Sadie, Gramophone, February In the Rameau, there is less room for doubt: In short, this is definitely a fine release, and one to get if you enjoy either work — though admittedly, the album could have been longer. Now will someone please convince Gaigg to give us the other choreographic symphonies of Rebel? They are a crack band, both in refinement and in stylistic confidence.

    Given the repetitive suite format … this is an unfailing source of joy — an a very important contribution to the recorded repertoire. Michi Gaigg proves to be a thoroughly convincing advocate of this music with her knowledgable and yet sensitive interpretation.


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    She succeeds beautifully in showing the entertaining aspects of the dances but also the rich atmosphere in the Overtures and Passacailles. Dessus , presents Suites in French style by J. Fischer, the director of music in Baden. The orchestra has been positioned in a historically informed manner. The splendid music, Le Journal du Printemps, was published in , and is presented here in an exciting and vivid interpretation.

    Judith Schmitzberger, Kurier, 23 September The diary consists of eight orchestral Suites in French style, adapted to the needs of the orchestra employed in Baden-Baden. Sometimes love and war are too close for comfort. The recording here presents high spirits and freshness. Especially the numerous beautiful woodwind solos are very impressive: Again cpo presents good sound quality. A highly recommendable disc for lovers of Baroque music. Heinz Braun, Klassik heute, 29 October This should be a paradox: Inspired by Michi Gaigg the ensemble energetically presents these joyful bagatelles with humour and a fair portion of accents highlighting the small Beethoven obstinacies.

    Each dance has its own charm, its own drive. Michi Gaigg leads her ensemble into relaxed, unstrained playing. The historical instruments guarantee impeccable transparency. The movement is brisk, not rushed. The tempi are carefully chosen. The continuity of phrases is maintained in spite of sforzati, the Haydn-like courtesy is conserved even though dissonances are enjoyed to the full. This is high art. Hilarious also some sturdy entries by the comical bassoon klassik. A tip to start this disc: The sound and cunning compositional concept of these works are lively presented and turn out to be addictive musical chocololates.

    Every musical amateur would notice it: Although the opposite applies: Josef Myslivecek was 18 years old when W. The leader Michi Gaigg managed to identify with the very personal style of the composer. The recorded sound is ideal. Wallfisch shows her stand in arpeggios, scales, semiquaver triplets and polyphonic playing.

    Those with prejudiced opinions about the ambitious, arrogant and patronising father of his son will soon change their minds once they hear this CD.