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MARTIN i SOLER, V.: L'Arbore di Diana

MARTIN I SOLER, V.: Arbore di Diana (L') [Opera] (Aikin, Liceu Grand Theatre Chorus and Orchestra, Bicket)

The Classical Shop
release date: November 2013

Originally recorded in 2013


Liceu Grand Theatre Orchestra


Harry Bicket


Laura Aikin


Michael Maniaci


Liceu Grand Theatre Chorus



Live recording, The Gran Teatre del Liceu, La Rambla, Barcelona, Catalonia, Spain


Record Label




Total Time - 142:20
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MARTIN i SOLER, V.: L'Arbore di Diana




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L'arbore di Diana

1 Act I: Overture 03:59
2 Act I Scene 1: Zitto, zitto, non parlate (Cloe, Britomarte, Clizia) 02:25
3 Act I Scene 2: Dove diavolo son? (Doristo) 06:02
4 Act I Scene 3: Tranquilli soggiorni (Diana) 02:41
5 Act I Scene 3: Ecco, amiche compagne, il garzoncello (Diana) 02:08
6 Act I Scene 3: Da parte gli scherzi (Doristo) 02:11
7 Act I Scene 3: L'ardir di questo pazzo (Diana) 01:14
8 Act I Scene 4: Dove vado, dove fuggo? (Endimione) 03:42
9 Act I Scene 4: Or su, signori miei (Amore) 01:58
10 Act I Scene 4: Un galant'uom son io (Doristo) 01:09
11 Act I Scene 4: Cos'e? (Endimione) 00:54
12 Act I Scene 4: Lieti e amorosi i rai (Endimione) 02:23
13 Act I Scene 4: Che sia stata la Dea? (Doristo) 01:53
14 Act I Scene 4: Qualche diavol qui s'asconde (Endimione) 01:35
15 Act I Scene 5: Il garzon che Diana (Britomarte) 02:31
16 Act I Scene 5: Di Cintia seguace (Britomarte) 02:30
17 Act I Scene 6: Ragazze, vien la Dea! (Amore) 04:14
18 Act I Scene 7: Si dice qua e la (Amore) 02:16
19 Act I Scene 7: Troppo t'ho gia sofferto (Diana) 01:23
20 Act I Scene 8: Che sorpresa e questa mai? (Diana) 03:12
21 Act I Scene 8: Perfidi! (Diana) 00:53
22 Act I Scene 8: Sento che dea son io (Diana) 06:12
23 Act I Scene 9: Via, non tremate! (Amore) 02:25
24 Act I Scene 9: Or bene, chi di voi (Amore) 03:14
25 Act I Scene 10: Occhietto furbetto (Amore) 02:37
26 Act I Scene 10: S'Io non avessi visto (Doristo) 00:51
27 Act I Scene 10: Oh, saggio giovinetto (Chorus) 06:21
28 Act I Scene 14: Oh, Dio, mancar mi sento (Endimione, All) 05:35

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1 Act II Scene 1: Or ch'ho sciolto i lacci vostri (Britomarte) 02:32
2 Act II Scene 1: Anche per questa volta (Endimione) 01:50
3 Act II Scene 2: Pieta, pieta di noi (Endimione) 03:11
4 Act II Scene 2: Ite, affetti importuni (Diana) 02:16
5 Act II Scene 4: Ah, quante volte mai (Endimione) 02:05
6 Act II Scene 4: Numi! Che nuova e questa (Diana) 00:45
7 Act II Scene 4: Come faro? (Clizia) 01:54
8 Act II Scene 4: Fermate, ola fermate! (Diana) 02:08
9 Act II Scene 6: Da un nume ignoto (Cloe) 01:14
10 Act II Scene 6: Lo stesso a me successe (Clizia) 01:10
11 Act II Scene 6: Ah, presto fuggiamo (Endimione) 02:15
12 Act II Scene 6: Serva di lor, signori (Amore) 03:07
13 Act II Scene 7: Se un occhiatina tenera (Doristo) 02:47
14 Act II Scene 8: Ma per un bacio un schiaffo si potente? (Doristo) 01:43
15 Act II Scene 9: Cessate di spargere (Amore) 01:41
16 Act II Scene 9: Ah, chi turbare ardisce (Diana) 03:13
17 Act II Scene 9: Pianin pianino lo chiamero (Diana) 07:21
18 Act II Scene 11: Vi voglio far veder, donne mie belle (Amore) 01:51
19 Act II Scene 12: Non ti lascio, traditore (Clizia) 00:49
20 Act II Scene 12: Or su, sbrigati! (Clizia) 04:46
21 Act II Scene 14: Teco porta, o mia speranza (Diana) 05:05
22 Act II Scene 14: Dal solitario asilo (Silvio) 01:33
23 Act II Scene 15: Fra quest'ombre taciturne (Diana) 05:13
24 Act II Scene 17: Di temer cessate (Amore) 01:32
25 Act II Scene 17: Vieni, o vieni, oh bella dea (All) 01:51
 Laura Aikin Soloist
 Michael Maniaci Soloist
 Harry Bicket Conductor

A feast for the ears and for the eyes is what Vicent Martín i Soler and Lorenzo Da Ponte conceived two - hundred - and - twenty - two years ago with this playful opera about the struggle between Diana and Love, about the temptation and joy of falling in love. A feast for the eyes is also the staging of it by director Francisco Negrí, fully absorbed in the sophisticated entertainment of an opera created only to give pleasure.

A product of 18th-century pop culture which the director transports to our century with all the hedonistic elements that both centuries have in common; popular culture once expressed through the Baroque machinery, now conveyed through audio-visual technology and Manga designs.  - Juan Carlos Olivares

L’arbore di Diana, which is being staged at the Gran Teatre del Liceu for the first time, is a two-act opera buffa by the composer from Valencia Vicent Martín i Soler with a text by the famous Lorenzo Da Ponte. It was first given at the Burgtheater in Vienna in 1787 under the patronage of Emperor Josef II.

Martín i Soler began his successful career in Naples and spent periods at the court in Madrid. After premiering works in other Italian cities, he moved to Vienna towards 1782. All three opere buffe he wrote there with Da Ponte Il burbero di buon cuore (1786), Una cosa rara ossia bellezza ed honesta (1786) and L’arbore di Diana (1787) were warmly received. The popularity of L’arbore di Diana quickly spread all over Europe. Martín y Soler later lived in Saint Petersburg as a protégé of Catherine II and died there in 1806.

His music is pleasant and expresses great vivacity and tenderness. The melodies are easy to sing and remember and the publication of selected arias enabled members of the audience to perform them in their own salons and mansions.

Though the plot includes features from the pastorale and erotic comedy, it had political intentions too and endorsed the abolition of convents and monasteries decreed by the emperor. Diana, the goddess of chastity, has a tree in her garden that bears large apples.

When one of her nymphs walks beneath it, the apples become shiny and make gentle sounds provided she is chaste, but if she has sinned against chastity, the apples turn black and punish her. Love finds this rule intolerable. He enters the garden and shows the gardener how to make the nymphs fall in love. He also brings the shepherd Endymion and Diana herself becomes enamoured of him. She has the tell-tale tree felled and Love turns her garden into a palace of love.

Scholars see Diana and the nymphs as symbolizing nuns and Love as the embodiment of the emperor.

They also detect similarities with Schikaneder and Mozart’s Die ZauberflÖte. There are clear parallels, for instance, between Diana and her nymphs and the Queen of Night and the three ladies, though Mozart’s treatment is more intricate and polyphonic, in contrast with Martín i Soler’s charmingly simple tunes.

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