Friedrich Haider - Verdi: Canzoni (2018)

Artist: Friedrich Haider, Diana Damrau, Paul Armin Edelmann & Cesar Augusto Gutierrez
Title: Verdi: Canzoni
Year Of Release: 2018
Label: Profil
Genre: Classical
Quality: flac lossless
Total Time: 00:54:44
Total Size: 222 mb
WebSite: Album Preview
TracklistTitle: Verdi: Canzoni
Year Of Release: 2018
Label: Profil
Genre: Classical
Quality: flac lossless
Total Time: 00:54:44
Total Size: 222 mb
WebSite: Album Preview
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01. Stornello
02. 6 Romanze II: No. 4, Lo spazzacamino
03. 6 Romanze II: No. 2, La zingara
04. 6 Romanze I: No. 5, Perduta ho la pace
05. 6 Romanze II: No. 6, Brindisi
06. 6 Romanze I: No. 2, More, Elisa, lo stanco poeta
07. 6 Romanze I: No. 4, Nell'orror di notte oscura
08. La seduzione
09. 6 Romanze I: No. 1, Non t'accostare all'urna
10. L'esule
11. Il poveretto
12. Brindisi (1st Version)
13. 6 Romanze I: No. 3, In solitaria stanza
14. 6 Romanze I: No. 6, Deh, pietoso, oh Addolorata
15. 6 Romanze II: No. 3, Ad una stella
16. 6 Romanze II: No. 1, Il tramonto
17. 6 Romanze II: No. 5, Il mistero
Giuseppe Verdi finished his first volume of Romances with none other than two of Gretchen’s songs from Goethe’s Faust, which gives the publication a particularly fascinating perspective. Imagine the late bloomer from Busseto, who was just working on his first opera, and was considering all possible text sources – it might be conjecture but not completely absurd to see a first, tentative approach to Goethe with the pieces “Meine Ruh ist hin” (“My peace is gone”) and “Neige, neige, du Schmerzenreiche” (“Lean down, you who are full of sorrow”). It may be only postulation, but consider if we had lost not just the planned King Lear, but a Faust as well...! The second volume of six Romances (1845) is more colorful and varied, as humorful and melancholy strains alternate. The gloomy yet beautiful evening scene “Il tramonot” (“The Sunset”) [16] stands next to “Zingara” with its bolero rhythms and musically blazing eyes [3], and next to the desire of the prisoner for the freedom of the lovely evening star (“Ad una stella”) [15]. After that, in the cheery chattering of the “Spazzacamino” [2] (“The Chimneysweep”), it’s easy to understand why his harmonies in three-quarter time aren’t all that elegant: “I look coarse and black, and everyone who gets too close to me gets black as well...“ At the end, Felice Romani’s glowing ode to his wife (“Il mistero”) [17] leads on to a sparkling paean to wine: apparently both are cardiotonic medicines, if we are to believe the last words in each.