Various - The Best of Opera, Vol.3 [CD]

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The Best of Opera Vol. 3Leader of the operatic reform of the later eighteenth century that led to agreater collaboration of librettist and composer and increased dramatic realism,Christoph Willibald von Gluck achieved his first success in the new genre in1762 with Orfeo ed Euridice, a treatment of the traditional story ofOrpheus, legendary musician of the ancient world, and his beloved Eurydice, whomhe tries to bring back from the Underworld by the power of his music. The famousDance of the Blessed Spirits in the second act of the opera depictssomething of the mood of the Elysian fields, from which he tries to saveEurydice, with final success only when Amor intervenes.Opera in Italy owed much, in the second decade of the nineteenth century, toGioachino Rossini, who enjoyed enormous success both at home and in thefollowing decade in Paris. His opera on the subject of the scheming Figaro, thebarber of Seville, in the opera of that name, Il barbiere di siviglia, thecreation of the French playwright Beaumarchais, is preceded nowadays by anoverture that had already twice served its purpose for other works but whichnevertheless makes a witty and sparkling introduction to the comedy.Opera in Italy from the 1840s was dominated by Giuseppe Verdi, a composerassociated by many with the political unification of Italy. In La traviata, basedon the play by the younger Alexandre Dumas, he treats the love of Alfredo forthe successful courtesan Violetta, her forced rejection of him and their finalreconciliation on her death-bed. The Prelude to the third act of theopera introduces the final scene, as Violetta lies ill, still with memories ofher former lover.Verdi's opera Il trovatore (The Troubadour), was staged in the sameyear as La traviata, 1853. Derived from a Spanish original, it deals withthe conflict between Manrico, the troubadour of the title and long lost son ofthe Count di Luna and his enemy and, unknown to him, brother, the present Count,in a tangled story of love, jealousy and gypsy revenge. The famous AnvilChorus in the second act is sung by the gypsies at their encampment wherethe gypsy woman Azucena, whom Manrico supposes to be his mother, is nursing himback to health after his duel with his brother.La forza dei destino (The Force of Destiny) was first staged in 1862.Again derived from a Spanish original, the opera deals with the workings offate, as Alvaro is accidentally instrumental in the death of the father of hisbeloved Leonora and therefore suffers the vengeance of her brother Carlo, whofinally kills his sister as he himself lies dying. In Pace, pace, DioLeonora, who has assumed disguise as a hermit, prays for a peace of mind she hasnever known, before the final denouernent.Shakespeare' s Othello provided a basis for an opera by Rossini and,69 years later, in 1887, for an opera by Verdi. Iago, jealous of his masterOthello, feeds his jealousy of Cassio, whom he supposes to be the lover of hisyoung wife Desdemona, leading to her murder. Iago tel

The Barber Of Seville: Overture

TOSCA: Recondita armonia

Die Zauberflote: Ach, ich fuhl's

La Boheme: O Soave fanciulla

Orfeo ed Euridice: Dance of the blessed spirits

Lakme: Viens, Mallika...Dome epais

Carmen: La fleur que tu m'avais jet e - Bizet

Madame Butterfly: Humming Chorus from Madame Butterfly - Puccini

Don Giovanni: Madamina! - Mozart

Martha: M'appari, tut'amor - Flotow

Act III La Traviata: La Traviata - Verdi

The Force Of Destiny: Pace, pace mio Dio - Verdi

Andrea Chenier: Come un bel d maggio - Giordano

Otello: Era la notte ... Si pel ciel (Iago's dream and oath duet) - Verdi

Il Trovatore: Vedi! le fosche notturne (anvil chorus) - Verdi

Die Walkure: Ride of the Valkyries - Wagner