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OP 0038
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OP 0038
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BELLINI, V.: Straniera (La) [Opera] (Ciofi, Stone, Schmunck, Shkosa)

BELLINI, V.: Straniera (La) [Opera] (Ciofi, Stone, Schmunck, Shkosa)

The Classical Shop
release date: May 2011


Artists:

London Philharmonic Orchestra


Parry, David


Dario Schmunck

Soloist

Texas All-State Women's Choir



Record Label
Opera rara

Genre:

Opera




Total Time - 141:22
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BELLINI, V.: Straniera (La) [Opera] (Ciofi, Stone, Schmunck, Shkosa)

 

FELICE ROMANI

     
  Disc 1  


Select Complete Single Disc for
   
 

La straniera

 
1 Act I: Introduction: Sinfonia - Scene 1: Voga, voga, il vento tace (Chorus of Men, Women) 5:22
2 Act I Scene 2: Recitative: Trista, pensosa, mentre a te d'intorno (Valdeburgo, Isoletta) 2:36
3 Act I Scene 2: Duet: Io la vidi (Valdeburgo, Isoletta) - Scene 3: La Straniera! (Chorus, Isoletta, Valdeburgo) - Scene 4: Qual rumor? (Montolino, Isoletta, Chorus, Osburgo, Valdeburgo) 9:15
4 Act I Scene 5: Recitative: Osburgo? … Io non divido (Montolino, Osburgo) 1:29
5 Act I Scene 6: Scene and Romanza: E sgombro il loco … (Arturo, A Voice, Alaide) 8:09
6 Act I Scene 7: Scene and Duet: Alaide! (Arturo, Alaide) 15:38
7 Act I Scene 8: Campo ai veltri (Osburgo, Chorus) 4:04
8 Act I Scene 9: Ti trovo alfin (Valdeburgo, Arturo) - Scene 10: Eccola! (Arturo, Alaide, Valdeburgo) 14:01
9 Act I Scene 11: Che mai penso? (Arturo, Osburgo, Chorus) 5:55
10 Act I Scene 12: Trio: Ah! non partir: gia stende (Alaide, Valdeburgo, Arturo) 3:15
11 Act I Scene 13: Trio: Leopoldo! (Arturo, Valdeburgo) - Scene 14: Qual rumor! (Alaide, Arturo, Distant Voices, Voices) - Scene 15: La Straniera! (Chorus, Alaide, Osburgo) 10:04
   
  Disc 2  


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1 Act II Scenes 1-4: Scene and Aria: Udimmo. Il tuo racconto (Prior, Osburgo, Chorus, Alaide, Arturo, Valdeburgo, A General Cry) 15:05
2 Act II Scene 5: Scene: Tu che osasti mentir in faccia a questo (Prior, Osburgo) - Scene 6: Voi che presenti foste (Prior) 1:35
3 Act II Scene 7: Scene: A tempo io giungo … (Arturo, Valdeburgo) 11:34
4 Act II Scene 8: Scene: Ne alcum ritorna? … Oh cruda (Isoletta) - Scene 9: Esulta: eil riede! (Chorus, Isoletta) 10:35
5 Act II Scene 10: E dolce la vergine (Ladies, Knights) - Scene 11: Dolce di un padre al cor suona (Montolino, Isoletta, Arturo) 3:07
6 Act II Scene 11: Scene and Quartet: Valdeburgo! (Arturo, Valdeburgo, Isoletta) - Scene 12: Gia dell'altare (Prior, Montolino, Arturo) - Scene 13: Che far vuoi tu (Valdeburgo, Arturo, Isoletta, Alaide) 8:01
7 Act II Scene 14: Scene: Sono all'ara … (Alaide) - Scene 15: Vaneggia … (Chorus, Arturo, Alaide) - Finale: Che veggio? (Prio, Arturo, Alaide, Valdeburgo, Chorus) 11:37
     
 Dario Schmunck Soloist
 Parry, David

Opera Rara OP 0038

Bellini: La straniera – Patrizia Ciofi, Mark Stone, Darío Schmunck, Enkelejda Shkosa, Graeme Broadbent, Roland Wood, Aled Hall, London Philharmonic Orchestra, David Parry

This release marks the first full-length Bellini opera in Opera Rara’s catalogue. Three operas by Bellini – La sonnambula and Norma (both 1831) and his last work, I puritani (1835) – remain classics of the bel canto repertoire, yet the slightly earlier La straniera (The Strange Woman) remains curiously neglected. In fact, this highly romantic melodrama, first staged at Teatro alla Scala in 1829, was initially enormously successful, both in Italy and internationally, but it gradually fell from the operatic repertoire as the bel canto style itself became unfashionable. Taking place about the year 1200, the plot centres round the identity of a mysterious woman who roams, veiled, through the landscape of Brittany. Ignorant peasants suppose her to be a witch, little suspecting that she is, in fact, Alaide, the exiled wife of the King of France. She attracts the attention of the local Count, Arturo, who is supposed to be engaged to Isoletta, and who finds himself jealous of her visitor, Valdeburgo (Alaide’s disguised brother). The result is confusion, violence, and a tragic ending. It was with La straniera that Bellini, aged twenty-seven, declared his independence from the florid style of Rossini, limiting the score’s coloratura writing in favour of straightforward, graceful melodies which express the characters’ often fiery emotions with minimal adornment or display. The style proved perfect for the beautifully constructed verses of Felice Romani, Bellini’s favourite librettist. The score points forward to Bellini’s greatest works and, on its own account, includes superb dramatic writing and those characteristic ‘long, long melodies of which he alone had the secret’, as Verdi put it.





This new release marks the first full-length Bellini opera in Opera Rara’s catalogue.

Three of Bellini’s operas – La sonnambula and Norma (both 1831) and his last work, I puritani (1835) – remain classics of the bel canto repertoire, yet the slightly earlier La straniera (The Stranger) remains curiously neglected. In fact, this highly romantic melodrama, first staged at La Scala in 1829, was initially enormously successful, both in Italy and internationally, but gradually fell from the operatic repertoire as the bel canto style itself became unfashionable.

Set in Brittany around 1200, the plot of La straniera centres around the identity of the mysterious woman who roams, veiled, through the landscape of Brittany. Ignorant peasants suppose her to be a witch, little suspecting that she is, in fact, Alaide, the exiled wife of the King of France. She attracts the attention of the local Count, Arturo, who is supposed to be engaged to Isoletta, and who finds himself jealous of her visitor, Valdeburgo (Alaide’s disguised brother). The result is confusion, violence and a tragic ending.

It was with La straniera that Bellini, aged 27, declared his independence from the florid style of Rossini by limiting the score’s coloratura writing in favour of straightforward, graceful melodies which express the characters’ often fiery emotions with minimal adornment or display; perfect for the beautifully constructed verses of Felice Romani, Bellini’s favourite librettist. The score points forward to Bellini’s greatest works and, on its own account, includes superb dramatic writing and those characteristic ‘long, long melodies of which he alone had the secret’, as Verdi put it.

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