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Guide Scena e Quintetto: Don Basilio! - Cosa veggo!, No. 15 from Il Barbiere di Siviglia - Full Score

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O namenlose Freude! Heil se idem Tag, Heil sei der Stunde. CD Rossini: Overtures. Gioacchino Rossini - Il barbiere di Siviglia. Overture Sinfonia. L'italiana In Algeri. William Tell. La Cenerentola. La scala di seta. La gazza ladra. CD Rossini: L'italiana in Algeri. Serenata il mesto ciglio. Ritiratevi tutti. Languir per una bella. Ah, quando fia ch'io possa. Se inclinassi a prender moglie. Quanto roba! Ai capricci della sorte. Ascoltami, Italiano. Dunque degg'io lasciarvi? Vi dico il ver. Viva, viva, il flagel delle donne.

Uno stupido, uno stolto. Amiche, andate a dire all'Italiana. Ah, come il cor di giubilo. Se da solo a sola. Viva il grande Kaimakan.


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  • Io non capisco niente. Ho un gran peso sulla testa. Dunque a momenti. Per lui che adoro. Ti presento di mia man. Con tutta la sua boria. Le femmine d'Italia. E tu speri di togliere Isabella. Che mai sento! Tutti i nostri Italiani. Che bel cor ha costei. Dei Pappataci s'avanza il coro. Son l'aure seconde, son placide l'onde. Mio Signore - Mio marito. CD Rossini: Il barbiere di Siviglia. Alberto Zedda London Symphony Orchestra, Claudio Abbado. Recitativo: "Finora in questa camera" - No.

    Disgraziato me! Recitativo: "Finora in questa camera". Che cosa accadde. CD Rossini: La Cenerentola. Sprezzo quei don che versa. E allor CD Rossini: Il viaggio a Reims. Il viaggio a Reims. Di vaghi raggi adorno. Partire io pur vorrei. Amabil Contessina. Che accade.

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    Vedeste il Cavaliere? A tal colpo inaspettato. Signor, ecco una lettera. Son qua, cosa comanda? Madame qui mi manda. Corinna, or tocca a voi. All'ombra amena. Viva il diletto augusto Regnator. CD Schubert: Fierrabras, D Franz Schubert - Fierrabras, D Marsch und Chor No.

    Emma hier? Was ist das? CD Wagner: Orchestral Music. Richard Wagner - Parsifal, WWV Suite: Compiled By Claudio Abbado. Sehr ruhig, ohne Dehnung ciff. Berliner Philharmoniker, Claudio Abbado. Breit ciff. Tristan und Isolde, WWV Concert version. Lohengrin, WWV Prelude To Act I. Sie naht, die hart Beklagte! Des Ritters will ich wahren. Ohn' Antwort ist der Ruf verhallt! Welch holde Wunder muss ich sehen? Was macht dich in so wilder Klage doch vergehn? Ortrud, wo bist du? Haltet ein! Prelude to Act III. Wie hehr erkenn' ich unsrer Liebe Wesen! Ach nein! Doch dort - der Schwan!

    Was bringen die? Was tun sie kund? Milan: R. Stabilimento Ricordi , n. Paris: Schonenberger , n. Plate V. Arranger Antonio Maria Bologna. Arranger Pedro Henrique De Faria. Paris: Lemoine , n. Plate P H. Paris: Alphonse Leduc , n. Plate A. Bellini, Rossini. Arranger Charles Chaulieu Jr. Ouverturen-Album Leipzig: C. This file is from the MIT archive project. New York: Schirmer , Peters , Kalmus , No. Musikalisches Universum, No. Benjamin , n. Arranger Charles Di Caro. Plate D. This file is part of the Gaylord Library Mirroring Project.

    From Pratt Harp Collection. Rossini, Gioacchino.

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    The Sinfonia overture was originally composed in for Aureliano in Palmira , then employed for the premiere of Elisabetta, regina d'Inghilterra in Naples before being used for the present opera, which has been its chief association ever since. La cambiale di matrimonio L'equivoco stravagante Demetrio e Polibio L'inganno felice Ciro in Babilonia La scala di seta La pietra del paragone L'occasione fa il ladro Il signor Bruschino Tancredi L'italiana in Algeri Aureliano in Palmira Il turco in Italia There is a cavern, before which Tancredi grieves over his sad destiny Dove son io?

    Through what horrors does my despair lead me! Coro [35]. Syracusan knights come in search of their champion against Solamir Regna il terror nella citta - Terror reigns in the city. Recitativo [36]. Argirio, Amenaide, knights and soldiers now find their hero, whose identity Amenaide has revealed Ecco, amici, Tancredi - Here, friends, is Tancredi. Tancredi, however, while willing to fight and die for Syracuse, still does not believe Amenaide's innocence.

    Rondo [37]. Tancredi now seeks death in combat Perche turbar la calma — Why trouble the peace of my heart, child of sorrow. He is urged to battle Vieni al campo - Come to the field. Recitativo [38].

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    Isaura and Amenaide now await the issue of the battle Quanti tormenti in un sol giorno! Shouts of triumph are heard and Argirio returns with Tancredi, who has killed Solamir, the latter, dying, having justified the innocence of Amenaide. Secondo finale [39]. The lovers are re-united Fra quai soavi palpiti — Gently beats my heart and Argirio and Amenaide express their joy, shared with Tancredi Si grande e il mio contento - So great is my joy , and, with Isaura, they celebrate the final happiness of Amenaide and Tancredi in a scene of general rejoicing.

    Sinfonia 2. Act I Scene 4: Coro: Quanta roba! Quanti schiavi! Amor tiranno! Chorus, Isabella 8. Act I Scene 4: Recitativo: Gia ci siam. Tanto fa Isabella, Taddeo, Haly 9. Act I Scene 5: Recitativo: Ah! Isabella … siam giunti a mal partito Taddeo, Isabella Che muso, che figura! Isabella, Mustafa Onor e patria Isabella, Lindoro Se da solo a sola Mustafa, Taddeo Io non capisco niente Taddeo, Mustafa Che mai sento!

    Mustafa, Lindoro, Taddeo Taddeo, Mustafa Next came an important commission from the Teatro la Fenice to write his first serious opera Tancredi , which was another triumph for the young man. Rossini experienced what it meant to have success, to be celebrated, from being the poor son of a town trumpeter to becoming a personality much in demand—a feeling of optimism took hold of him, which allowed him to forget his initial feelings of angst.

    But it was a long time coming. At this point Gallo, as has always been assumed up to now, had implored Rossini to write a new opera immediately, in order to bridge the gap caused by the delay of the Coccia opera. This work, to a libretto by Giuseppe Foppa instead of the advertised Gaetano Rossi , and with the title of La donna selvaggia The Wild Woman , finally reached the stage on 26 June So there was no need to have a new libretto written in an impossibly short time-scale as a last-minute replacement, but on the contrary, a good excuse at last to be able to set to music a libretto of quality.

    To a certain extent also the urge to measure himself against his colleagues would probably have played a part. A comparison of the two versions of the libretto clearly shows that countless changes had to be made to the new setting. Although the structure of the opera has not been inherently changed, emphases have been shifted, above all in relation to the principal character of Isabella.

    A second aria for Lindoro would have merely delayed the first finale and was therefore cut. In the second act Isabella would have sung a love-duet with Lindoro but it was deemed superfluous, so it was replaced by a new aria for Lindoro, so that the prima donna could come into her own with an additional aria in the next-but-one number.

    In the two big ensemble numbers, the finale of Act 1 and the Act 2 quintet, some passages have been added or altered, which give due weight to the ensembles. For him the structure of the opera and the inner meaning of the individual characters had, above all, to be right. With hindsight such an interpretation was an easy one to make. Fundamentally Rossini was not a political person, and if he succeeded musically in furnishing the text with patriotic fervour, so this should be attributed to his genius in putting into an appropriate form human emotions and feelings to which patriotism also belongs.

    Not to be forgotten is the erotic component, which permeates the libretto. No translation can do justice to this blatant lewdness, in which the expression vaga femmina can mean not only a pretty woman but also a precise anatomical term. The performer should sing these salacious verses on the stage as though she had just thought of them herself: even if the famous pictures of Maria Marcolini show only a little of her sex appeal, she was doubtless a performer who did not suppress her erotic charisma and she certainly turned on the charm when she was on stage and probably off it too.

    Owing to the indisposition of Marcolini the second performance did not take place until 29 May, after which it ran for the whole of June. Perhaps Rossini wanted to replace the aria which was probably not written by him with a number which he had written, or perhaps Serafino Gentili, who again was singing the role of Lindoro asked for an aria which would bring him greater attention. In the centre is a sofa on which Elvira is reclining, attended by her maid, Zulma, and a chorus of eunuchs.

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    The latter try to comfort Elvira, whose husband has tired of her. Zulma adds her own pleas, as women are made to obey. The voice of Haly, Captain of the Algerian corsairs, is heard announcing the approach of the Bey, who enters, complaining of the arrogance of women and of the trouble they cause. He is determined to put an end to the vexation Elvira gives him. Zulma urges her mistress to speak up bravely, while the eunuchs have their own misgivings. Elvira approaches Mustapha, who angrily dismisses her, at a loss how to deal with her. In the following ensemble he tells of his own changing humours, when he sees other girls, while the others comment on his anger.

    Haly objects that the man is not a Turk, but Mustapha sees no objection there, after all he is the one who makes the laws. He goes on to explain his boredom with the women of his harem and his desire for an Italian woman; Haly must find such a woman for him within six days, on pain of death. Mustapha enters his apartment and Haly leaves. He is joined by Mustapha, who tells Lindoro he is to marry. Lindoro hesitates, doubting the possibility of marriage without love, but Mustapha suggests that surely money sometimes enters into it. Lindoro is bound to agree, up to a point, but Mustapha offers to show him his bride, a fair face, heart and the rest, posing a problem to Lindoro.

    Mustapha, in reply, assures him that his choice has everything Lindoro could want, riches, beauty and love. Lindoro wants honesty, a quality Mustapha assures him she has; fine eyes, which she has; black hair, fine complexion, all of which she has. Lindoro is in difficulties, loyal to his beloved, while Mustapha urges him to accept the girl he is offering him. In the distance a ship wrecked in the diminishing storm can be seen, with people trying to escape. The corsairs see the possibility of plunder from the sinking ship, and of women.

    Comic Duet for Two Cats Beginner Tots Piano Sheet Music

    This, Haly thinks, will be lucky for Mustapha. Among those disembarking is Isabella, just the thing for Mustapha. Isabella laments her fate, praying for help, but resolving to stand firm against the corsairs, using every female wile. The corsairs have seized her travelling companion, Taddeo, who cries out for help. Isabella tells the men that he is her uncle and that they are both Italians, to the delight of Haly, who can now satisfy the Bey, as he leaves with the good news. Taddeo tells her that he knows that she has sailed in the hope of finding her beloved Lindoro, but he fears his own possible fate.

    Taddeo is fearful for the future. Isabella thinks a Turk better than a rascal and is impatient with Taddeo and his pretensions. On reflection, however, she realises that she needs protection, and Taddeo that he needs her help. The quarrel is ended, for whatever reason, and they resolve to continue posing as niece and uncle. Zulma is amazed that Lindoro has refused Elvira, who, for her part, knows the kind of thing to expect from a husband.

    Mustapha enters, promising to let Lindoro go back to Italy, as long as he takes Elvira with him, and willing to give him money. He tells Lindoro to hurry to arrange matters with the captain of the Italian ship moored nearby, and he leaves to do so. Mustapha tells Elvira that Italy will suit her very well. Haly enters with the news that a beautiful Italian girl has been found for his master, who, in turn, is delighted, and orders the women of the harem to be brought out to witness his triumph.

    Elvira must go at once, and can take Zulma with her, if she wants. He goes out, accompanied by Haly and his attendants. They are joined by Lindoro with news that the ship is ready to sail. He asks Elvira how she can still love Mustapha and promises her that in Italy she shall have all the husbands and lovers she wants.

    Mustapha is seated on the sofa, surrounded by the eunuchs, who sing in praise of the Bey, tamer of women. Haly tells Mustapha that the Italian girl is outside. He, on the other hand, is delighted with her, but resolved to hide his feelings, which he barely succeeds in doing. Isabella addresses him, seeking his protection. Aside, Mustapha is captivated and Isabella is even surer of herself. The Bey orders his execution but relents when Isabella tells him that Taddeo is her uncle, as the latter continues to tremble in fear at his possible fate.

    Mustapha is in love, and Isabella flatters him by declaring that he knows how to love. Isabella is amazed to see her Lindoro and he too can hardly believe his eyes. Mustapha is mystified by what is happening, as the two stand in wonderment. Isabella demands to know the identity of the woman with Lindoro, explained by Mustapha as his former wife, before he met Isabella. Isabella deplores his barbarity and demands that Elvira be allowed to stay and the man can be her slave. The situation is complicated and the act ends in general consternation.

    Elvira and Zulma are there, with Haly and the eunuchs. As Mustapha approaches, Haly tells her to agree with the Bey and play for time.


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    • Mustapha asks the two women to tell the Italian girl that he will take coffee with her. Mustapha has information through the Italian slave and will have his way; he proposes to use Taddeo to serve his purpose. Lindoro approaches her, pleading, but she is angry at his proposed match with Elvira.

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      Lindoro tries to explain the situation, and she suggests that they both make their escape together; for the moment they must part. Mustapha would like to be alone with the Italian girl. Taddeo begs the Bey for mercy, seeing himself followed by what seem to be the implements of imminent execution. The eunuchs sing praise of the Grand Kaimakam, with the strength of a lion and the cunning of a serpent. Taddeo, at a loss, admits to Mustapha that he is a fool and can barely read, but is told that his task is to make Isabella love him.

      Taddeo offers thanks and promises to approach Isabella, while worried by the situation in which he finds himself. Isabella is dressing in Turkish costume, with Zulma and Elvira. Isabella orders her slave, Lindoro, to bring coffee for three, but Elvira suggests that the Bey wants to see Isabella alone. She tells Elvira to go to one side and watch. She adds that Mustapha does not know what kind of woman she is.

      The men, apart, comment on the scene, finding Isabella irresistible, while she has every intention of tricking the Bey. Her dressing completed, she goes out and her slaves retire. Mustapha tells Taddeo to find Isabella, and when he demurs, tells him that that is his duty. Lindoro returns to announce that Isabella will be with him in a moment. The Bey tells Taddeo that he must leave them together when he gives the sign by sneezing. She finds this just the thing for a man that looks like that and openly thanks the Bey.

      Taddeo tells Isabella the reason for his promotion and Lindoro tells Mustapha to see how Taddeo fulfils his duty. She addresses Mustapha as her dear one and Mustapha duly sneezes, a signal he has to repeat several times, while Taddeo refuses to go, to the amusement of Lindoro and Isabella. Two Moors bring coffee and Isabella welcomes in Elvira, invited, she says, by her husband.

      Mustapha is furious, threatening revenge, as the others tell him to console his wife. Lindoro tells Taddeo that Isabella will need his help in order to escape. Lindoro, his identity still unknown to Taddeo, tells him to watch how he deals with Mustapha. Lindoro tells the Bey that Isabella is really in love with him, and, as Mustapha makes to go to her, adds that she will receive him with due ceremony as her Pappataci. Taddeo adds that this is the counterpart of his honour as Kaimakam. They tell Mustapha of the preliminary duties, drinking, sleeping and eating, a plan that he finds delightful.

      They see Isabella and her entourage approaching. Now Taddeo and Lindoro must be guided by a woman. She rebukes Taddeo for laughing and bids Lindoro have courage; loves makes her bolder, and soon they shall see their own country again. Mustapha asks him where his niece is, and Taddeo claims that she is busy preparing to receive him into the order of the Pappataci, a reply that delights Mustapha.

      The Pappataci call on the horns to sound and Lindoro and Taddeo laugh at the scene, while Mustapha is delighted at the honour done him. Lindoro gives Taddeo a sheet of paper to read out and to be repeated by Mustapha. He must see and not see, hear and not hear, eat and drink and not mind what people say, and swear to this. Mustapha swears and is declared a Pappataci.

      The sailors prepare to weigh anchor. Isabella tells Lindoro that it is time to go, but Taddeo, hearing the name Lindoro, realises that he has been gulled, while Mustapha, as a Pappataci, eats on and keeps silent. Taddeo decides to escape with Lindoro and Isabella. They think he is mad, while Isabella, Lindoro and Taddeo are delighted at their success. Now at last Mustapha realises that he has been duped, and calls for his Turks, eunuchs and Moors, who by now are all drunk. He understands his folly and will have no more of Italian girls, begging Elvira to forgive him.

      Isabella, Lindoro and Taddeo embark, ready to sail, bidden farewell by Elvira and the others. The moral, as the Italian girl has shown, must be that women will have their way. Act I No. Intesi ogni cosa Poeta, Zaida, Albazar 6. Act II No. Poeta, Narciso, Geronio Tu seconda il mio disegno Narciso Squallida veste e bruna Fiorilla, Chorus For Rossini and Milan in the original libretto was adapted by Felice Romani, who worked for La Scala, Milan, for many years, writing some eighty libretti, generally much praised for their clarity and absence of padding.

      The new opera, however, was not particularly well received in Milan, where audiences saw in it only the reverse situation to that in L'Italiana in Algeri. There were, nevertheless, twelve performances, and in it was revived in Milan, and there were performances in London, and, in the same decade, in New York, where it was given by Manuel Garcia and his company, the stimulus for Da Ponte, in the same city, to embark on further operatic ventures, and in in Edinburgh. Revivals of the opera in the twentieth century, after neglect of nearly a hundred years, allowed Maria Callas to give a spirited portrayal of the flighty Fiorilla, and the work, without Callas, formed an apt part of the thematic Turkish year at the Edinburgh Festival of , with the visit there of the Piccola Scala.

      In Il Turco in Italia Rossini makes considerable use of ensembles of one kind or another, inserting arias, particularly in the second act, for the benefit of the singers. These include a tenor aria for Albazar in the second act that is not by Rossini. The final comedy of disguises again suggests Mozart and Da Ponte in their final collaboration.

      Act I: Cavatina: Ecco, ridente in cielo 4. Act I: Recitativo: Gente indiscreta! Act I: Recitativo: Ah, ah! Act I: Recitativo Povera disgraziata! Act I: Recitativo: Oh cielo! Act I: Recitativo: Ev - viva il mio Padrone! Act I: Recitativo: Si, si, la vincero Act I: Recitativo: Oh buon di, signorina! Act I: Recitativo: Ah, disgraziato Figaro! Act I: Recitativo: Ah! Barbiere d'inferno Act I: Recitativo: Ma bravi! Act I: Recitativo: Ora mi sento meglio Act I: Recitativo: Brontola quanto vuoi Act I: Recitativo: Finora in questa camera Act II: Recitativo: Ma vedi mio destino!

      Act II: Recitativo: Insomma, mio signore Act II: Recitativo: Venite, signorina Act II: Recitativo: Bella voce! Act II: Recitativo: Bravo, signor barbiere Act II: Recitativo: Ah!

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      Act II: Recitativo: Per forza o per amore Act II: Recitativo: Alfine, eccoci qua Act II: Recitativo: Ah disgraziati noi! Act II: Aria: Cessa di piu resistere Act II: Recitativo: Insomma, io no tutti i torti! Until recently Rossini was regarded as essentially a composer of comic operas, and above all of The Barber of Seville. Already for Beethoven, if we must believe the account of Rossini's visit to him in Vienna in , the names of Rossini and The Barber were inseparable and in his opinion Rossini should have continued in that vein.

      For the five previous years, however, Rossini had distanced himself from this. In fact from the period when he had been in Naples working for the Royal San Carlo Theatre, which did not welcome operas of an inferior kind, Rossini had only written serious operas, and, incidentally, works full of stylistic and formal originality. His comic and semiserious operas, on the other hand, had been written for houses outside Naples, beginning with Rome, where his semiserious opera Torvaldo e Dorliska was staged in at the Teatro Valle, and his two final Italian comic operas, Il barbiere di Siviglia , in at the Teatro Argentina, and La Cenerentola in , again at the Teatro Valle.

      By its terms he undertook to provide a comic opera for the coming carnival of After vainly approaching lacopo Ferretti for a libretto, he turned to Cesare Sterbini, the librettist of Torvaldo, who was asked to base his work on the well known comedy of Beaumarchais, Le barbier de Seville , already the subject of a number of musical treatments, among them that of Petrosellini for Paisiello Both librettist and composer realised the necessity of distancing themselves from the work of Petrosellini, to avoid giving the impression that they were competing with the much admired Paisiello and above all to adapt the piece to modern taste, with its conventions, very different from those of the version of Petrosellini and Paisiello.

      The necessity of such an adaptation was ignored, however, by Francesco Morlacchi, who was able calmly to write new music for the Petrosellini text for performance in Dresden in These exigencies were explicitly revealed in the libretto printed for the first performance of Rossini's opera on 20 th February , , with Gertrude Ighetti Giorgi, Emanuele Garcia, Luigi Zamboni, Bartolomeo Botticelli and Zenobio Vitarelli. The printed Notice to the Public continued:. The comedy of M. Beaumarchais entitled II barbiere di Siviglia o sia L'inutile precauzione is presented in Rome adapted as a comic drama under the title Almaviva o sia L'inutile precauzione , with the object of fully convincing the public of the feelings of respect and veneration entertained by the composer of the music of the present drama for the famous Paisiello, who has already treated this subject under its original title.

      Invited to undertake the same difficult task, Maestro Gioachino Rossini, in order not to incur the charge of impudent rivalry with the immortal composer who has preceded him, has expressly requested that II Barbiere di Siviglia should be newly put into verse and that the musical numbers should be differently arranged, in view of the changes in modern dramatic taste that have taken place since the period in which the famous Paisiello wrote his music. Another difference in the arrangement of the present drama and that of the French comedy arose because of the necessity of introducing into the same story choruses, so much a part of modern practice and indispensable to achieve the required musical effect in a theatre of considerable size.

      For this reason the understanding of the public is requested for the composer of the new drama, who, without these pressing considerations, would not have dared to introduce the smallest change in the French play already sanctified by the applause of theatre audiences throughout Europe. The librettist and composer originally planned the musical numbers as follows:. Comparing this scheme with the final result, it is easy to understand the changes in the plan of work.

      It is worth noticing the adjustments brought about to improve the dramatic continuity, the insertion of the storm and of the character of Don Basilio to provide action in the Quartet, without recourse to the instruction "di scena". This characteristic, together with the abundance of ensemble numbers, half the total, is eloquent testimony to the desire of Sterbini and Rossini to bring the greatest possible dynamism to the piece itself.