"The aria ""Vesti La Giubba"" (on with the Motley) comes from which Opera?"
"Vesti la giubba """" (, ""Put on the costume"", often referred to as ""On With the Motley"", from the original 1893 translation by Frederic Edward Weatherly) is a famous tenor aria from Ruggero Leoncavallo's 1892 opera ""Pagliacci"". """" is sung at the conclusion of the first act, when Canio discovers his wife's infidelity, but must nevertheless prepare for his performance as Pagliaccio the clown because ""the show must go on"". The aria is often regarded as one of the most moving in the operatic repertoire of the time. The pain of Canio is portrayed in the aria and exemplifies the"
"2018 a full costume version of ""Il Giustino"", directed by Deda Cristina Colonna and with music by Peter Spissky and the Camerata Øresund, figured as one of the central pieces in the Næstved Early Music Festival . Giustino (Vivaldi) Giustino (also known as Anastasio) ""RV 717"" is a 1724 opera by Vivaldi to a libretto by Nicolò Beregan. The opera was composed for the 1724 carnival season in Rome and premiered at the Teatro Capranica. The aria of Anastasio, ""Vedrò con mio diletto"", has become a famous piece sung at concerts and on recordings by countertenors such as Philippe Jaroussky"
"La donna è mobile """" (; ""Woman is fickle"") is the Duke of Mantua's canzone from the beginning of act 3 of Giuseppe Verdi's opera ""Rigoletto"" (1851). The canzone is famous as a showcase for tenors. Raffaele Mirate's performance of the bravura aria at the opera's 1851 premiere was hailed as the highlight of the evening. Before the opera's first public performance (in Venice), the song was rehearsed under tight secrecy: a necessary precaution, as """" proved to be incredibly catchy, and soon after the song's first public performance it became popular to sing among Venetian gondoliers. As the opera"
"Giustino (Vivaldi) Giustino (also known as Anastasio) ""RV 717"" is a 1724 opera by Vivaldi to a libretto by Nicolò Beregan. The opera was composed for the 1724 carnival season in Rome and premiered at the Teatro Capranica. The aria of Anastasio, ""Vedrò con mio diletto"", has become a famous piece sung at concerts and on recordings by countertenors such as Philippe Jaroussky and Jakub Józef Orliński and by contraltos as Sonia Prina. In July 2018 a concert performance was given at the Festival International d'Opéra Baroque de Beaune — with the Accademia Bizantina conducted by Ottavio Dantone. In August"
"the Casa Ricordi archives in Milan. This may be the score which Donizetti presented to Rubini, who presumably passed it through the hands of Giovanni Ricordi to Merelli. The sparkling overture includes a theme which is quite similar to that of Don Profondo's aria Medaglie Incomparabili from ""Il viaggio a Reims"" by Rossini. The opera premiered on 10 September 1839 at the Teatro alla Scala in Milan, where it received twelve performances. There were seventeen further performances in 1845 at the Teatro Regio (Turin) and ten in 1846 at the Teatro San Carlo in Naples, but it was not staged"
"his friend Gastone and by Violetta to show off his voice. He begins this drinking song, later joined by Violetta and the rest of the company. The words were written by Francesco Maria Piave. Libiamo ne' lieti calici """" (; ""Let's drink from the joyful cups"") is a famous duet with chorus from Verdi's ""La traviata"", one of the best-known opera melodies and a popular performance choice (as is this opera itself) for many great tenors. The song is a brindisi, a lively song that encourages the drinking of wine or other alcoholic beverages. The duet is performed in the"
"of ""Lucrezia Borgia""; the aria of the seventh scene, to the """"Madamina"""" of ""Don Giovanni""; the chorus of scene eight to the """"Guerra, Guerra"""" of ""Norma""; the duet of scene nine to the """"O sole piu ratto"""" of ""Lucia di Lammermoor""; the """"Cavatina"""" of scene ten to the """"Meco all'altar"""" of ""Norma""; the chorus of the same scene to the """"Bando, Bando"""" of ""Lucrezia Borgia"", and the trio which follows, to the """"Guai se tu sfoggi"""" of the same opera; the piece concludes with the aria to """"Vieni!"""", from Donizetti's ""La favorite"". It was first performed in a benefit concert"
"new style and its restless harmonic shifts into remote keys did not please all. 45 years later it was stated that ""Bellini's style was abstruse, discontinuous, distorted, and lacking in distinction, that it alternated among the ""serio"" and the ""buffo"" and the ""semi-serio""."" 19th century performances The opera was first performed at La Scala, Milan on 14 February 1829, with Henriette Méric-Lalande and Domenico Reina in the leading roles. Alessandro Sanquirico, the well-established set designer of the time, designed the sets, and the opera was presented on a triple bill, along with the ballets ""Buondelmonte"" and ""L'avviso ai maritati"". Within"
"so well deceiv’d at any [other Opera]."" Probably the most famous song from the opera is Ernesto's aria, ""Per la gloria d’adorarvi,"" which remains to this day a popular selection for concert and recital performance. Other notable pieces include ""Dolce sogno, deh le porta"" and ""Volgendo, a me lo sguardo"" for Gualtiero. These three arias were very popular and were reprinted, for example in Richard Neale’s ""A Pocket Companion for Gentlemen and Ladies"" (London, 1724) and in ""The British Musical Miscellany"" (London, 1735). Place: Near Palermo in Sicily. King Gualtiero has married Griselda, a peasant woman and his longtime mistress,"
"Francesco Manelli Francesco Manelli (Mannelli) ( 1595 – 1667) was a Roman Baroque composer, particularly of opera, and a theorbo player. He is most well known for his collaboration with fellow Roman composer Benedetto Ferrari in bringing commercial opera to Venice. The first two works, in 1637 and 1638, to be put on commercially in the Teatro San Cassiano were both by Manelli - his ""L'Andromeda"" and ""La Maga Fulminata"". Francesco Manelli was for many years confused with the Franciscan friar Giovanni Battista Fasolo, because of the resemblances between Manelli’s cantata ""Luciata"", (published in ""Musiche varie,"" op. 4 Venice, 1636),"
"in television advertisements. Football fans chanted new words on the melody, and it was used in video games and films. La donna è mobile """" (; ""Woman is fickle"") is the Duke of Mantua's canzone from the beginning of act 3 of Giuseppe Verdi's opera ""Rigoletto"" (1851). The canzone is famous as a showcase for tenors. Raffaele Mirate's performance of the bravura aria at the opera's 1851 premiere was hailed as the highlight of the evening. Before the opera's first public performance (in Venice), the song was rehearsed under tight secrecy: a necessary precaution, as """" proved to be incredibly"
"fabric of the drama and lavish use of accompanied recitative. The opera was first performed at the Teatro alla Scala in Milan on 26 December 1779 to open the theater's operatic carnival season of 1780 as one of the earliest operas ever performed there. It was a spectacular failure that necessitated the substitution of many of the arias for works of Giuseppe Sarti and Francesco Bianchi. The first performance of the opera since its first run in Milan took place in Lisbon on 22 May 2015 in the form of a semi scenic version sponsored by the . There is"
"Zanni, Moschino"" etc.) are introduced into this 'serious' context. The use of the term ""comedia musicale"" in the printed score might go back to Dante's ""Divine Comedy"" (completed 1320), merely addressing a happy ending story. The opera was first performed at the Palazzo Barberini, Rome on 12 February 1637. The surviving score is a revised version dating from 1639. The impoverished Egisto is in love with the young widow Alvida. She rejects his advances unless he destroys the things dearest to him: a tower he has inherited and his favourite falcon. He does so and Alvida is so impressed by"
"Belluccia takes pity on him and the couple are reconciled and married. At the end of the opera we see the newlyweds sail back to their old hometown on Federico's galley (hence the title). ""Li zite 'ngalera"" Soloists, Cappella della Pietà de' Turchini, conducted by Antonio Florio (Opus 111, 1999) cuts to 2CD Li zite 'ngalera Li zite 'ngalera (""The Newlyweds on the Galley"") is a commedia per musica in three acts by the Italian composer Leonardo Vinciб first performed at the Teatro dei Fiorentini, Naples on 3 January 1722.. The libretto, by Bernardo Saddumene, is written in the Neapolitan"
"on the Operabase list of the most-performed operas worldwide in the five seasons between 2008 and 2013. There are a large number of recordings. It contains the popular tenor aria ""Una furtiva lagrima"", a ""romanza"" that has a considerable performance history in the concert hall. Donizetti insisted on a number of changes from the original Scribe libretto. The best known of these was the insertion of ""Una furtiva lagrima"" and the duet between Adina and Nemorino in the first act, ""Chiedi all'aura lusinghiera"". The melody to the duet ""Io son ricco e tu sei bella"" in act 2, scene 1"
"La sposa fedele La sposa fedele (""The Faithful Bride"") is an ""opera buffa"" (or according to some sources, dramma giocoso) in three acts by Pietro Alessandro Guglielmi. The Italian libretto was by Pietro Chiari. It was Guglielmi's most successful opera, mixing both comedy and pathos. There is an opera with the same title by Giovanni Pacini, first given in 1819. ""La sposa fedele"" was first performed at the Teatro San Moisè in Venice on 26 December 1766, though it is possible that it was given first in Cremona in 1765. Other productions followed in Italy and elsewhere in Europe (including"
"Lanza's most acclaimed operatic performances. These include the Monologue ""Dio! mi potevi scagliar"" from ""Otello"", ""Lamento di Federico"" from ""L'Arlesiana"", ""Di rigori armato"" from ""Der Rosenkavalier"", ""Amor ti vieta"" from ""Fedora"", and ""O paradiso"" from ""L'Africana"". Lanza also sings Schubert's ""Ave Maria,"" Rossini's ""La danza,"" and the Neapolitan song ""Torna a Surriento"" by Ernesto De Curtis. The conductor on the operatic arias was the Academy Award-winning Musical Director Ray Heindorf. See e.g. The CD concludes with the 1956 album ""A Cavalcade of Show Tunes"", arranged and conducted by Henri René. Among this collection of 12 musical comedy and operetta standards,"
"La muette de Portici La muette de Portici (""The Dumb Girl of Portici"", or ""The Mute Girl of Portici""), also called Masaniello () in some versions, is an opera in five acts by Daniel Auber, with a libretto by Germain Delavigne, revised by Eugène Scribe. The work has an important place in music history as the earliest French grand opera. It is also known for its role in the Belgian Revolution of 1830. The opera was first given at the Salle Le Peletier of the Paris Opéra on 29 February 1828. The role of Masaniello was taken by the famous"
"La Loca (opera) La Loca ""(The Madwoman)"", also known as Juana la Loca ""(Crazy Joanna),"" is an opera by Gian Carlo Menotti, composed in 1979. It is a romantic drama about the life of Joanna of Castille (1479–1555). It was written as a vehicle for soprano Beverly Sills and received its premiere on June 3, 1979, at the San Diego Opera, followed by the New York City Opera. Critical response was largely negative, so Menotti completely reworked it. The revised version premiered in 1982 at the Festival of Two Worlds in Spoleto, Italy. The American premiere of the revised version"
"Giovanni's chambers"" Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: ""O quanto un sì bel giubilo"" from Vicente Martín y Soler's ""Una cosa rara"" (1786), ""Come un agnello"" from Giuseppe Sarti's ""Fra i due litiganti il terzo gode"" (1782) and finally, ""Non più andrai"" from Mozart's own ""The Marriage of Figaro"" (1786). Leporello complains that he is sick and tired of hearing Mozart's aria everywhere all the time. (Finale ""Già la mensa preparata"" – ""Already the table is prepared"")."
"Puccini's from 1897. Osborne describes the scenes that follow—Cavaradossi's interrogation, his torture, Scarpia's sadistic tormenting of Tosca—as Puccini's musical equivalent of ""grand guignol"" to which Cavaradossi's brief ""Vittoria! Vittoria!"" on the news of Napoleon's victory gives only partial relief. Scarpia's aria ""Già, mi dicon venal"" (""Yes, they say I am venal"") is closely followed by Tosca's ""Vissi d'arte"". A lyrical andante based on Tosca's act 1 motif, this is perhaps the opera's best-known aria, yet was regarded by Puccini as a mistake; he considered eliminating it since it held up the action. Fisher calls it ""a Job-like prayer questioning God"
"La Gioconda (opera) La Gioconda is an opera in four acts by Amilcare Ponchielli set to an Italian libretto by Arrigo Boito (as Tobia Gorrio), based on ""Angelo, Tyrant of Padua"", a play in prose by Victor Hugo, dating from 1835. (This is the same source as Gaetano Rossi had used for his libretto for Mercadante's ""Il giuramento"" in 1837). First performed in 1876, ""La Gioconda"" was a major success for Ponchielli, as well as the most successful new Italian opera between Verdi's ""Aida"" (1871) and ""Otello"" (1887). It is also a famous example of the Italian genre of ""Grande"
"concert arias. The aria was originally sung by Mysliveček's friend and professional collaborator Luigi Marchesi in the role of Rinaldo. The tenor Valentin Adamberger, who would create the role of Belmonte in Mozart's opera ""Die Entführung aus dem Serail"" in Vienna in 1782, was also present as a cast member. (taken from the score in the Ajuda Palace in Lisbon,<br> the only complete score of the opera) Act I, scene 1 - Aria of Fenicia, ""Perche d'affano oppressa"" <br> Act I, scene 2 - Aria of Sidonia, ""Vuoi che turbi"" <br> Act I, scene 3 - Aria of Armida, ""So"
"Source: Recordings of ""La cena della beffe"" on operadis-opera-discography.org.uk La cena delle beffe La cena delle beffe (""The Jesters' Supper"") is an opera in four acts composed by Umberto Giordano to an Italian libretto by Sem Benelli adapted from his 1909 play of the same name. The opera premiered on 20 December 1924 at La Scala. Milan. The story, set in Florence at the time of Lorenzo de' Medici, recounts the rivalry between Giannetto Malespini and Neri Chiaramantesi for the affections of the beautiful Ginevra and Giannetto's thirst for revenge over a cruel joke played on him by Neri and"
"occur ""(Macbeth"", Cherubini's ""Les Deux Journees"", Rossini's ""Tancredi"") or the baritone role in them was given to another artist. (Lothario in Thomas' ""Mignon"", for example, was assigned not to Santley but to the French baritone Jean-Baptiste Faure). Rather than accept another season with the joint company, Santley decided to establish a new English Opera enterprise at the Gaiety Theatre, working with the theatre's music director and conductor, Meyer Lutz. In autumn 1870 he launched a successful nine-week run at the Gaiety with Hérold's ""Zampa"". He refused to sing ""Don Giovanni"" but he did stage ""Fra Diavolo"" (with himself in title"
"included Giacinto Andrea Cicognini, Antonio Cesti, Antonio Abati, and Lorenzo Lippi. In 1653, on the recommendation of Rosa's patron Cardinal Giancarlo de' Medici, Apolloni was appointed court poet to Ferdinand Charles, Archduke of Austria at Innsbruck. There he produced the libretti for three works by Antonio Cesti: the operas ""L'Argia"" (1655) and ""La Dori"" (1657) and the courtly entertainment ""Mars und Adonis"" (1655). Both ""L'Argia"" and ""Mars und Adonis"" were performed during the week-long celebrations in November 1655 welcoming Queen Christina of Sweden on her journey to Rome. For Cesti's opera ""Orontea"", performed in Innsbruck in 1656, Apolloni revised the"
"commedia dell'arte group. He also moved the action from Paris to Vienna. Strauss was initially reluctant, but he composed the prologue (and modified some aspects of the opera) in 1916, and this revised version was first performed at the Vienna State Opera on 4 October of that year. This is the version that is normally staged today, although the original play-plus-opera has been occasionally performed, such as at the 1997 Edinburgh International Festival and at the 2012 Salzburg Festival. The most important aria in either version is Zerbinetta's (High and mighty princess). Other important pieces of the opera are the"
"in Paris in 1821, but it was unsuccessful. In modern times, this opera was revived for the first time at the Teatro Coccia in Novara, on 7 November 2003. This production was recorded and published on CD. In his review of the Novara performance, produced making use of different versions of the opera, the Italian music critic Giangiorgio Satragni noted ""the resounding of features of Rossini's style"" and emphasized, among the pieces of the opera, Emerico's cavatina ""Soave all'anima"" and Clotilde's aria ""Deh! Tu guida"", but judged the work on the whole as ""implacable nineteenth-century operatic routine"". The marriage between"
"La gazza ladra La gazza ladra (, The Thieving Magpie) is a ""melodramma"" or opera semiseria in two acts by Gioachino Rossini, with a libretto by Giovanni Gherardini based on ""La pie voleuse"" by Théodore Baudouin d'Aubigny and Louis-Charles Caigniez. The composer Giaochino Rossini wrote quickly, and ""La gazza ladra"" was no exception. According to legend, before the first performance of the opera, the producer assured the composition of the overture by locking Rossini in a room, from the window of which the composer threw out the sheets of music to the copyists who then wrote the orchestral parts, to"
"over their riches. The comic potential is enhanced by Don Ettore being played as a pants role — that is, by a woman. The role of Apollonia can also be played by a man. There are two quartets, and all characters but Don Ettore have arias to sing. La canterina La canterina (""The Songstress"" or ""The Diva""), Hob. XXVIII/2, is a short, two-act opera buffa by Joseph Haydn, the first one he wrote for Prince Esterhazy. Based on the intermezzo from the third act of Niccolò Piccinni's opera L'Origille (1760), it lasts about 50 minutes. It was written in 1766,"
"reported, ""Herr Mozart conducted in person and was welcomed joyously and jubilantly by the numerous gathering."" Mozart also supervised the Vienna premiere of the work, which took place on 7 May 1788. For this production, he wrote two new arias with corresponding recitatives – Don Ottavio's aria """" (K. 540a, composed on 24 April for the tenor Francesco Morella), Elvira's aria """" (K. 540c, composed on 30 April for the soprano Caterina Cavalieri) – and the duet between Leporello and Zerlina """" (K. 540b, composed on 28 April). He also made some cuts in the Finale in order to make"
"La cena delle beffe La cena delle beffe (""The Jesters' Supper"") is an opera in four acts composed by Umberto Giordano to an Italian libretto by Sem Benelli adapted from his 1909 play of the same name. The opera premiered on 20 December 1924 at La Scala. Milan. The story, set in Florence at the time of Lorenzo de' Medici, recounts the rivalry between Giannetto Malespini and Neri Chiaramantesi for the affections of the beautiful Ginevra and Giannetto's thirst for revenge over a cruel joke played on him by Neri and his brother Gabriello. Giannetto's revenge ""joke"" ultimately leads Neri"
"faithful bridegroom. La Loca (opera) La Loca ""(The Madwoman)"", also known as Juana la Loca ""(Crazy Joanna),"" is an opera by Gian Carlo Menotti, composed in 1979. It is a romantic drama about the life of Joanna of Castille (1479–1555). It was written as a vehicle for soprano Beverly Sills and received its premiere on June 3, 1979, at the San Diego Opera, followed by the New York City Opera. Critical response was largely negative, so Menotti completely reworked it. The revised version premiered in 1982 at the Festival of Two Worlds in Spoleto, Italy. The American premiere of the"