Orchestra and Chorus of Teatro La Fenice di Venezia, Tomás Netopil - Mozart: Lucio Silla, K135 (2007)
BAND/ARTIST: Roberto Saccà, Annick Massis, Monica Bacelli, Veronica Cangemi, Julia Kleiter, Stefano Ferrari, Orchestra and Chorus of Teatro La Fenice di Venezia, Tomás Netopil
- Title: Mozart: Lucio Silla, K135
- Year Of Release: 2007
- Label: Dynamic
- Genre: Classical
- Quality: flac lossless
- Total Time: 02:23:43
- Total Size: 616 mb
- WebSite: Album Preview
Tracklist
CD1
01. Lucio Silla, K. 135: Overture
02. Lucio Silla, K. 135: Act I Scene 1: Ah ciel, l'amico Cinna qui attendo invan (Cecilio, Cinna)
03. Lucio Silla, K. 135: Act I Scene 1: Vieni ov'amor t'invita (Cinna)
04. Lucio Silla, K. 135: Act I Scene 2: Dunque sperar poss'io di pascer gli occhi miei (Cecilio)
05. Lucio Silla, K. 135: Act I Scene 2: Il tenero momento premio di tanto amore (Cecilio)
06. Lucio Silla, K. 135: Act I Scene 3: A te dell'amor mio, del mio riposo (Silla)
07. Lucio Silla, K. 135: Act I Scene 3: Se lusinghiera speme pascer non sa gli amanti (Celia)
08. Lucio Silla, K. 135: Act I Scene 4: Sempre dovro vederti lagrimosa e dolente? (Silla, Giunia)
09. Lucio Silla, K. 135: Act I Scene 4: Dalla sponda tenebrosa vieni o padre (Giunia)
10. Lucio Silla, K. 135: Act I Scene 5: E tollerare io posso si temerari oltraggi? (Sillia)
11. Lucio Silla, K. 135: Act I Scene 5: Il desio di vendetta, e di morte (Silla)
12. Lucio Silla, K. 135: Act I Scene 6: Morte, morte fatal della tua mano ecco le prove in queste (Cecilio)
13. Lucio Silla, K. 135: Act I Scene 7: Fuor di queste urne dolenti (Chorus, Giunia)
14. Lucio Silla, K. 135: Act I Scene 7: Se l'empio Silla, o padre (Giunia)-Scene 8: Eccomi, o cara (Cecilio, Guinia)
15. Lucio Silla, K. 135: Act I Scene 8: D'Eliso in sen m'attendi ombra dell'idol mio (Giunia, Cecilio)
16. Lucio Silla, K. 135: Act II Scene 1: L'amico tuo fedele puo libero parlar? (Aufidio, Silla)
17. Lucio Silla, K. 135: Act II Scene 1: Guerrier, che d'un acciaro (Aufidio)
18. Lucio Silla, K. 135: Act II Scene 2: Ad affrettar si vada in Campidoglio (Silla, Celia)-Scene 3: Qual furor ti transporta? (Cinna, Cecilio)
19. Lucio Silla, K. 135: Act II Scene 3: Quest'improvviso tremito che in sen di piu s'avanza (Cecilio)
CD2
01. Lucio Silla, K. 135: Act II Scene 4: Non m'arrestar … (Cinna, Celia)
02. Lucio Silla, K. 135: Act II Scene 4: Se il labbro timido scoprir non osa (Celia)
03. Lucio Silla, K. 135: Act II Scene 5: Silla m'impone che al popolo (Giunia, Cinna)
04. Lucio Silla, K. 135: Act II Scene 5: Ah se il crudel periglio (Giunia)
05. Lucio Silla, K. 135: Act II Scene 6: Ah si, scuotasi omai (Cinna)
06. Lucio Silla, K. 135: Act II Scene 6: Nel fortunato istante che' ei gia co' voti affretta (Cinna)
07. Lucio Silla, K. 135: Act II Scene 7: Signor, ai cenni tuoi il Senato fia pronto (Aufidio, Silla)-Scene 8: Sentimi … (Silla, Giunia)
08. Lucio Silla, K. 135: Act II Scene 8: D'ogni pieta mi spoglio perfida donna audace (Silla)
09. Lucio Silla, K. 135: Act II Scene 9: Che intesi, eterni Dei? (Giunia, Cecilio)-Scene 10: Perche mi balzi in seno (Giunia, Celia)
10. Lucio Silla, K. 135: Act II Scene 10: Quando sugl' arsi campi (Celia)
11. Lucio Silla, K. 135: Act II Scene 11: In un istante oh come (Giunia)
12. Lucio Silla, K. 135: Act II Scene 12: Se gloria il crin ti cinse (Chorus)
13. Lucio Silla, K. 135: Act II Scene 12: Padri Coscritti, io che pugnai per Roma (Silla, Giunia, Aufidio)-Scene 13: Sposa, ah no, non termer (Cecilio, Silla, Giunia)-Scene 14: Nella prigion piu nera (Silla)
14. Lucio Silla, K. 135: Act II Scene 14: Quell'orgoglioso sdegno oggi umiliar sapro (Silla, Cecilio, Giunia)
15. Lucio Silla, K. 135: Act III Scene 1: Ah si tu solo, amico (Cinna, Celia)
16. Lucio Silla, K. 135: Act III Scene 1: Strider sento la procella (Celia)
17. Lucio Silla, K. 135: Act III Scene 2: Ogni pensier di morte (Cinna)
18. Lucio Silla, K. 135: Act III Scene 2: De' piu superbi il core (Cinna)
19. Lucio Silla, K. 135: Act III Scene 3: Ah dolce sposo … (Giunia, Cecilio)
20. Lucio Silla, K. 135: Act III Scene 4: Pupille amata non lagrimate (Cecilio)
21. Lucio Silla, K. 135: Act III Scene 5: Sposo … mia vita … (Giunia)
22. Lucio Silla, K. 135: Act III Scene 5: Fra i pensier piu funesti di morte (Giunia)
23. Lucio Silla, K. 135: Act III Scene 6: Roma, il Senato e 'l popolo m'ascolti (Silla, Giunia, Cecilio, Aufidio, Cinna)
24. Lucio Silla, K. 135: Act III Scene 6: Il gran Silla a Roma in seno (Chorus, Giunia, Cecilio, Cinna, Silla)
Sing the traditional structures of Neapolitan opera as a basis, in Lucio Silla Mozart gave life to a style that was very advanced in both forms and ontents: the choruses, the great number accompanied recitatives, the arias that were not necessarily scored with the ”da capo” structure represent the opera’s main novelties alongside wholly unusual, bold harmonic and melodic features.
The use of various forms of solo aria - and the consequent abandonment of the single ”da capo” model - confirms the composer’s wish to find the structures best suited to the expression of various different emotional states. Alongside the characters of Neapolitan theatre, accentuated compared to the models, we thus find traces of an impassioned spirit, seeking to reach beyond conventional patterns. This comes about not only through decidedly massive use of the orchestra, which accompanies and illustrates the action with a very marked poetic sense and does not limit itself to redoubling the song, but indeed
inserts new melodies and denotes independent treatment of the single timbres, but also through a wholly personal representation of emotions overstepping the situations offered by the libretto as it aims for almost an passionate tragic nature. With this his third ”dramma per musica” Mozart successfully concludes his activity in Italian theatres; he does not achieve any concrete openings for his profession, but does draw artistic profit from the experiments he carries out here, which will be exploited in later titles in his catalogue.
CD1
01. Lucio Silla, K. 135: Overture
02. Lucio Silla, K. 135: Act I Scene 1: Ah ciel, l'amico Cinna qui attendo invan (Cecilio, Cinna)
03. Lucio Silla, K. 135: Act I Scene 1: Vieni ov'amor t'invita (Cinna)
04. Lucio Silla, K. 135: Act I Scene 2: Dunque sperar poss'io di pascer gli occhi miei (Cecilio)
05. Lucio Silla, K. 135: Act I Scene 2: Il tenero momento premio di tanto amore (Cecilio)
06. Lucio Silla, K. 135: Act I Scene 3: A te dell'amor mio, del mio riposo (Silla)
07. Lucio Silla, K. 135: Act I Scene 3: Se lusinghiera speme pascer non sa gli amanti (Celia)
08. Lucio Silla, K. 135: Act I Scene 4: Sempre dovro vederti lagrimosa e dolente? (Silla, Giunia)
09. Lucio Silla, K. 135: Act I Scene 4: Dalla sponda tenebrosa vieni o padre (Giunia)
10. Lucio Silla, K. 135: Act I Scene 5: E tollerare io posso si temerari oltraggi? (Sillia)
11. Lucio Silla, K. 135: Act I Scene 5: Il desio di vendetta, e di morte (Silla)
12. Lucio Silla, K. 135: Act I Scene 6: Morte, morte fatal della tua mano ecco le prove in queste (Cecilio)
13. Lucio Silla, K. 135: Act I Scene 7: Fuor di queste urne dolenti (Chorus, Giunia)
14. Lucio Silla, K. 135: Act I Scene 7: Se l'empio Silla, o padre (Giunia)-Scene 8: Eccomi, o cara (Cecilio, Guinia)
15. Lucio Silla, K. 135: Act I Scene 8: D'Eliso in sen m'attendi ombra dell'idol mio (Giunia, Cecilio)
16. Lucio Silla, K. 135: Act II Scene 1: L'amico tuo fedele puo libero parlar? (Aufidio, Silla)
17. Lucio Silla, K. 135: Act II Scene 1: Guerrier, che d'un acciaro (Aufidio)
18. Lucio Silla, K. 135: Act II Scene 2: Ad affrettar si vada in Campidoglio (Silla, Celia)-Scene 3: Qual furor ti transporta? (Cinna, Cecilio)
19. Lucio Silla, K. 135: Act II Scene 3: Quest'improvviso tremito che in sen di piu s'avanza (Cecilio)
CD2
01. Lucio Silla, K. 135: Act II Scene 4: Non m'arrestar … (Cinna, Celia)
02. Lucio Silla, K. 135: Act II Scene 4: Se il labbro timido scoprir non osa (Celia)
03. Lucio Silla, K. 135: Act II Scene 5: Silla m'impone che al popolo (Giunia, Cinna)
04. Lucio Silla, K. 135: Act II Scene 5: Ah se il crudel periglio (Giunia)
05. Lucio Silla, K. 135: Act II Scene 6: Ah si, scuotasi omai (Cinna)
06. Lucio Silla, K. 135: Act II Scene 6: Nel fortunato istante che' ei gia co' voti affretta (Cinna)
07. Lucio Silla, K. 135: Act II Scene 7: Signor, ai cenni tuoi il Senato fia pronto (Aufidio, Silla)-Scene 8: Sentimi … (Silla, Giunia)
08. Lucio Silla, K. 135: Act II Scene 8: D'ogni pieta mi spoglio perfida donna audace (Silla)
09. Lucio Silla, K. 135: Act II Scene 9: Che intesi, eterni Dei? (Giunia, Cecilio)-Scene 10: Perche mi balzi in seno (Giunia, Celia)
10. Lucio Silla, K. 135: Act II Scene 10: Quando sugl' arsi campi (Celia)
11. Lucio Silla, K. 135: Act II Scene 11: In un istante oh come (Giunia)
12. Lucio Silla, K. 135: Act II Scene 12: Se gloria il crin ti cinse (Chorus)
13. Lucio Silla, K. 135: Act II Scene 12: Padri Coscritti, io che pugnai per Roma (Silla, Giunia, Aufidio)-Scene 13: Sposa, ah no, non termer (Cecilio, Silla, Giunia)-Scene 14: Nella prigion piu nera (Silla)
14. Lucio Silla, K. 135: Act II Scene 14: Quell'orgoglioso sdegno oggi umiliar sapro (Silla, Cecilio, Giunia)
15. Lucio Silla, K. 135: Act III Scene 1: Ah si tu solo, amico (Cinna, Celia)
16. Lucio Silla, K. 135: Act III Scene 1: Strider sento la procella (Celia)
17. Lucio Silla, K. 135: Act III Scene 2: Ogni pensier di morte (Cinna)
18. Lucio Silla, K. 135: Act III Scene 2: De' piu superbi il core (Cinna)
19. Lucio Silla, K. 135: Act III Scene 3: Ah dolce sposo … (Giunia, Cecilio)
20. Lucio Silla, K. 135: Act III Scene 4: Pupille amata non lagrimate (Cecilio)
21. Lucio Silla, K. 135: Act III Scene 5: Sposo … mia vita … (Giunia)
22. Lucio Silla, K. 135: Act III Scene 5: Fra i pensier piu funesti di morte (Giunia)
23. Lucio Silla, K. 135: Act III Scene 6: Roma, il Senato e 'l popolo m'ascolti (Silla, Giunia, Cecilio, Aufidio, Cinna)
24. Lucio Silla, K. 135: Act III Scene 6: Il gran Silla a Roma in seno (Chorus, Giunia, Cecilio, Cinna, Silla)
Sing the traditional structures of Neapolitan opera as a basis, in Lucio Silla Mozart gave life to a style that was very advanced in both forms and ontents: the choruses, the great number accompanied recitatives, the arias that were not necessarily scored with the ”da capo” structure represent the opera’s main novelties alongside wholly unusual, bold harmonic and melodic features.
The use of various forms of solo aria - and the consequent abandonment of the single ”da capo” model - confirms the composer’s wish to find the structures best suited to the expression of various different emotional states. Alongside the characters of Neapolitan theatre, accentuated compared to the models, we thus find traces of an impassioned spirit, seeking to reach beyond conventional patterns. This comes about not only through decidedly massive use of the orchestra, which accompanies and illustrates the action with a very marked poetic sense and does not limit itself to redoubling the song, but indeed
inserts new melodies and denotes independent treatment of the single timbres, but also through a wholly personal representation of emotions overstepping the situations offered by the libretto as it aims for almost an passionate tragic nature. With this his third ”dramma per musica” Mozart successfully concludes his activity in Italian theatres; he does not achieve any concrete openings for his profession, but does draw artistic profit from the experiments he carries out here, which will be exploited in later titles in his catalogue.
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