Giordano - Andrea Chénier 'Vicino a te s'acqueta' - James Allen Gähres, cond., Ulm Philharmonic скачать в хорошем качестве

Giordano - Andrea Chénier 'Vicino a te s'acqueta' - James Allen Gähres, cond., Ulm Philharmonic

Jorge Perdigón and Lisa Livingston sing the Act IV duet Chénier - Maddalena 'Vicino a te s'acqueta' (Finale) of the opera Andrea Chénier by Umberto Giordano (1867–1948). James Allen Gähres, conductor Lisa Livingston, soprano Jorge Perdigón, tenor Ulm Philharmonic Live recorded during open public performance. Ulm, Germany Cover: Detail of 'Le 28 Juillet. La Liberté guidant le peuple' (Liberty Leading the People), 1830, painting by Eugène Delacroix (French painter, muralist and lithographer, 1798–1863). Musée du Louvre, Paris, France. – Musical quotation by U. Giordano, dated Milan November 24, 1893. Photos: – Performance of 'Andrea Chénier' at Theater Ulm. – Portrait of Umberto Giordano in 1929. Lyrics CHÉNIER Vicino a te s’acquieta l’irrequieta anima mia; tu sei la meta d’ogni desio, d’ogni sogno, d’ogni poesia! Entro al tuo sguardo l’iridescenza scerno de li spazi infiniti. Ti guardo; in questo fiotto verde di tua larga pupilla erro coll’anima! MADDALENA Per non lasciarti san qui; non è un addio! Vengo a morire con te! Fìni’ il soffrire! La morte nell’amarti! Ah! Chi la parola estrema dalle labbra raccoglie, è Lui, l’Amor! Ch. Tu sei la meta dell’esistenza mia! Il nostro è amore d’anime! M. Il nostro è amore d’anime! Salvo una madre. Maddalena all’alba per la morte ldia Legray. Vedi? La luce incerta del crepuscolo giù pe’ squallidi androni già lumeggia. Abbracciami! Baciami! Amante! Ch. Orgoglio di bellezza! Trionfo tu de l’anima! Il tuo amore, sublime amante, è mare, è ciel, luce di sole e d’astri. MADDALENA, CHÉNIER È il mondo! È il mondo! Ch. La nostra morte è il trionfo dell’amor! M. La nostra morte è il trionfo dell’amor! Ch. Ah benedico, benedico la sorte! M. Nell’ora che si muor, eterni diveniamo! Ch. Morte! M. Infinito! MADDALENA, CHÉNIER Amore! Amore! Ch. E la morte! M. E la morte! Ch. Ella vien col sole! M. Ella vien col mattino! Ch. Ah, viene come l’aurora! M. Col sole che la indora! Ch. Ne viene a noi dal cielo, entro ad un vel di rose e viole! MADDALENA, CHÉNIER Amor! Amor! Infinito! Amor! Amor! SCHMIDT Andrea Chénier! Ch. Son io! SCHMIDT Idia Legray! M. Son io! MADDALENA, CHÉNIER Viva la morte insiem! Andrea Chénier was Umberto Giordano's third opera. The libretto, by Puccini's regular collaborator Luigi Illica (1854–1919), is loosely based on the life and tragic death of the French poet André Chénier (1762–1794), who was executed during the French Revolution. The premiere of Chénier at Teatro alla Scala, Milan, on March 28, 1896 was a great success, and the opera with its commitment to the embodiment of reality through great vocal and orchestral sensationalism became one of the most popular examples of the verismo (literally, 'realist') movement in Italian opera. The four-act opera, setting in and around Paris, 1789–94, excitingly depicts the excesses of the French aristocracy, the idealism of the revolutionaries in their dreams of freedom, equality, and brotherhood, and the excesses of blood lust that ended the Revolution. The musical language is strongly post-Romantic, with gorgeous lyricism, fervent declamatory arias, and ominous passages depicting the crowds and tribunals that sent so many to their deaths. The tale set against this backdrop is a love story between Chénier and Maddalena. Gérard is in love with Maddalena; in order to get her for himself, he has Chénier arrested. The aria in which he makes this fateful decision is one of the most dramatic in the baritone repertoire: He cynically writes the accusations he knows to be false, then remembers how Chénier himself inspired his now-tarnished revolutionary zeal. Upon learning of Chénier's arrest, Maddalena comes to Gérard for help, telling him of the death of her mother, the loss of her home, and how Chénier's love transformed her life. Though Gérard tries to save Chénier, the hero is condemned at the the corrupt trial, and Maddalena joins him in the prison so that they can die together. Giordano perfectly captures the atmosphere of Paris pre- and post-Revolution, through music including an elegant Gavotte (Act I) and the popular revolutionary songs "La Carmagnole" and the "Marseillaise." Not surprisingly, the tenor protagonist gets some fine solos, including Act I's ardent aria "Un dì, all'azzurro spazio," and Act IV's nostalgic "Come un bel dì di maggio." But Maddalena and Gérard also have wonderful arias: the former's impassioned "La mamma morta," and the latter's tormented "Nemico della patria?" as he wrestles with his conscience in Act III. Andrea Chénier remains popular with audiences, though it is now less frequently performed than it was during the first half of the 20th century. One reason that the opera has stayed in the repertoire is due to the magnificent lyric-dramatic music.