Opera d'Oro

Two releases from Opera d'Oro plus free downloads!

operadoro@gmail.com (Bel Canto) — Tue, 18 Mar 2008 23:16:00 +0000

New this month from OPD are two wonderful operas from our Grand Tier Series:

Rossini's La donna del lago

The Lady of the Lake, based on the narrative poem by Sir Walter Scott, has been one of the most successful of Rossini´s "serious" operas to be revived in recent years. Overflowing with thrilling melodies and exciting ensembles, it gets a stellar performance here with Caballé in her prime in 1970.

Here is a free download of one of the most famous arias from this opera: Tanti affetti in tal momento

La Donna Del Lago: Act Two (mp3)

Download the full album at:

Buy at mTraks Download

Or purchase the CD, which includes the entire libretto, artwork, and archived photos here:

La Donna

Puccini's Manon Lescaut

Perhaps the greatest May-December match-up in opera recording, this thrilling live performance of Manon Lescaut stars tenor Plácido Domingo near the beginning of his career, in the youthful prime of his voice, and legendary soprano Magda Olivero ("The Queen of Verismo") in her 60th year as the young Manon. Live performance, 1970.

Here is a free download of the aria: Donna non vidi mai

Manon Lescaut: Act One (mp3)

Download the full album at:

Buy at mTraks Download

Purchase the CD, which includes the entire libretto, artwork, and archived photos here:

Manon

operadoro@gmail.com (Bel Canto) — Mon, 31 Dec 2007 21:14:00 +0000

How to: Handel Opera
A brief retrospection

The Portland Opera Company is celebrating an entire season of women in opera for 2007-2008. The next scheduled performance is Handel’s, Rodelinda. In hopes of attending this performance, I figured I’d go back and listen to this opera and perhaps profile it and the styles attributed not only to Handel, but the transitioning styles of the time, highlighting the genre’s continued evolution in the early and mid 18th century. After a brief overview, I point out some of these attributes used throughout Rodelinda – should you find yourself with a recording or even at a live performance.

Some history:

Handel (1685-1759) was sorely neglected for nearly 150 years when it came to opera. In fact, his genius was really only celebrated through a small collection of orchestral works and oratorios. It has been quite recently that his operas received more attention – many critics ranking his works alongside the great Romantic composers of the genre. The reason for such neglect has more to do with the shift in styles and forms for the Classical and Romantic eras (remember, it was not until Mendelssohn’s direction of the St. Matthew Passion when Bach’s music began its “revival”). This shift, especially in the 18th century, for the most part repudiated Baroque elements that governed composition and performance, not to mention the lifestyle.
Handel wrote 36 operas, many of which shared their greatest successes in London. Rodelinda (1725) was Handel’s seventh full-length opera written for the Royal Academy of Music. “The story is based on the account in Paul the Deacon’s Gesta langobardorum of events in 7th century Lombardy, and is set in Milan. The Milanese throne, bequeathed to Bertarido by his father, has been usurped by Grimoaldo, Duke of Benevento. In consequence Bertarido was forced to flee to Hungary, leaving behind his wife Rodelinda, his young son Flavio and his sister Eduige, but he has now returned to Milan in disguise, having put out a report of his own death. Grimoaldo, despite being betrothed to Eduige, seeks the love of Rodelinda: marriage to her will confirm his hold on Milan. The story gained significance because of the heroine’s strong-willed devotion to her husband and her display of emotions. This, along with an articulate story, believable characters, and well-written music fitting for the dramatic situations made the opera one of Handel’s most reputable.

What to listen for:

Now, it’s very easy to think that the eras of which historians describe changed overnight. However, there is always a gray area, and transitions usually lasted well into the eras that are so set to their respective dates. Rodelinda is a fine example of a work caught in the middle of such a transition. Handel is, without a doubt, a Baroque composer, and anyone who studies his collection of works will agree. However, new ideas began to emerge during the first quarter of the 18th century; ideas attributed to new philosophies and ways of living: what we refer to as the Enlightenment, and Handel was not impervious to them. Italian opera was a “product of the same forces that were reshaping all other genres of music in the age of the Enlightenment. It aimed to be clear, simple, rational, faithful to nature, of universal appeal, and capable of giving pleasure to its audiences without causing them undue mental strain.” Reason, balance, simplicity, clarity; these elements affected every aspect of life, including music. The chief characteristics of early Classical, late Baroque opera include performances in three acts, alternating recitatives and arias with the action developed in the recitatives, while arias were more dramatic soliloquy; usually a principal character from the preceding scene would give expression to appropriate feelings about the current situation. The orchestra played very little more than an accompaniment role (other than the overture). Recitatives were accompanied by a harpsichord and a sustaining bass instrument. The aria was the center of Italian opera, and for the earlier part of the 18th century, the da capo aria dominated the scene.

Handel’s work is no exception to these qualities. In Rodelinda we can hear a blend of styles; from the pulsing, Baroque rhythms and use of musical affections (whether in vocal or instrumental parts) to the distinct use of da capo aria and recitative obbligato.

Spotlight aria:

Rodelinda, Act 1: Dove sei, amato bene

Written for alto-castrato, it is typically performed today by a counter tenor or mezzo-soprano. Here is a remarkable performance of the aria by Andreas Scholl:

As you listen, try to follow the typical da capo aria form. In this particular aria it is as follows:

Ritornello, A, Ritornello, B, Ritornello, A

Scholl’s performance is delicate and balanced, not over embellished at all; each section clearly distinct from one another. A beautiful piece of music, it has also stood on its own from time to time as a solo work. I did read that this aria was not in the original score, but added by Handel later, and has even undergone several alterations by editors. I would believe it only because I’ve heard a 1959 recording of the same aria and it is much different:

Handel: Rodelinda (mp3)

Buy at Amazon

I truly look forward to this performance by Portland’s Opera Company. It will be interesting to see which version is used in the upcoming production.
I humbly admit that prior to learning about this opera, I didn’t really spend much time with Handel, other than his more famous works. Perhaps some of you out there admit the same. I’m definitely hooked and look forward to hearing more!

There are countless articles and reviews about this opera. However, I will have to leave that investigation to your own devices. Good luck and happy listening!

(((Video))) José Carreras sings 'Una furtiva Lagrima'

operadoro@gmail.com (Bel Canto) — Fri, 21 Dec 2007 17:01:00 +0000

How can you not enjoy this aria!

From: L'elisir d'amore

SYNOPSES
Nemorino is in love with a wealthy girl, but she says she isn't interested in poor boys like him. Desperate, he buys a "Love potion" that only turns out to be cheap red wine. And yet, Nemorino believes the "Elixir" will work. When he sees her cry, he knows she has fallen for him at last.

Libretto:

Una furtiva lagrima
Negl'occhi suoi spunto:
Quelle festose giovani
Invidiar sembro.
Che piu cercando io vo?
Che piu cercando io vo?
M'ama, si m'ama, lo vedo, lo vedo.
Un solo instante i palpiti
Del suo bel cor sentir!
I miei sospir, confondere
Per poco a' suoi sospir!
I palpiti, i palpiti sentir,
Confondere i miei coi suoi sospir
Cielo, si puo morir!
Di piu non chiedo, non chiedo.
Ah! Cielo, si puo, si puo morir,
Di piu non chiedo, non chiedo.
Si puo morir, si puo morir d'amor.

ENGLISH TRANSLATION

One lonely tear steals down thy cheek,
Secretly, here in the dark.
Ah! but to me it seems to speak,
To say love may yet be a spark.

Why then do you have to leave?
Why then do I have to grieve?

One lonely tear on thy cheek
Seems to say
Don't fly away.
One lonely tear steals down thy cheek,
Here as I kiss thee farewell,
Ah! But to me it seems to speak
It has much to tell.

O stay, my love, O stay my love, O stay!
Don't fly away, O love, don't fly away!
Give love a chance to survive,
O I beg thee to try to keep love alive!
Ah! One lonely tear I can clearly see
Seems to reveal thy love for me!

NEW WEBSITE!!!!

operadoro@gmail.com (Bel Canto) — Thu, 06 Dec 2007 19:43:00 +0000

Well, it's finally here. Our newly designed website went live this week! Please have a look and let me know what you think. There are some minor things we will be editing, so be aware that some polishing is definitely in place. But I'm very happy to announce a fully functional OPD experience.

Click on the title of this blog post to see the site!

To celebrate, we're offering a free download of "Padre, germani, addio!" from Mozart's, Idomeneo Re di Creta. Just click on the icon to download! Enjoy!

Wolfgang Amadeus Mozart
"Mozart: Idomeneo Re di Creta" (mp3)
from "Idomeneo Re di Creta"
(Opera d'Oro)

Buy at iTunes Music Store
Buy at eMusic
Buy at Amazon

"Homer of Seville"

operadoro@gmail.com (Bel Canto) — Mon, 03 Dec 2007 17:41:00 +0000

Every now and then I watch a little television, and it just so happened that last night (Sunday) the stars aligned for me to watch The Simpsons. I'm not one who readily writes about a tv show, but did anyone else see this episode (it was a repeat)? Homer injures his back and discovers that he has an incredible tenor voice -- as long as he's lying down. He quickly rises to stardom, performing lead roles in La Boheme, Le Nozze di Figaro, and others. Along the way, he encounters the one and only, Placido Domingo! I shook my head, "No way is this really him", I thought. But sure enough, it was! Now, it's no suprise that The Simpsons feature numerous celebrities from a range of professions. I think what usually gets me is the actual appearance of said celebrity. In other words, its nice to see Placido has such a great sense of humor. The show poked a little fun at him "being number 2" behind Homer. Another great moment was the famous tenor telling Homer to call him P-Dingo. At any rate, the show was great, and definitely worth noting because of the opera infused scenes.

Just a little commentary to start the week...

Opera d'Oro's digital comeback

operadoro@gmail.com (Bel Canto) — Tue, 27 Nov 2007 17:54:00 +0000

Well, it's been a while since my last post, and I apologize for such a long delay. Things have been very busy here at the Opera d'Oro camp. We are about to launch a totally new website, chock full of great ways to experience the Opera d'Oro world. I am very excited about this and hope you will check it out once it goes live. We are shooting for Monday, Dec. 3.

I read recently that the great soprano, Barbara Hendricks, is going to be releasing her newest album in a very peculiar fashion. In addition to her physical release on CD, she will be releasing it digitally in a similar manner that the band Radiohead did back in October.

Now, I'm not going to stand on a soapbox and discuss if this is controversial or not. But I must share this observation: classical musicians are beginning to realize how important the digital world has become. The genres within classical music are experiencing a renaissance right now. See the New Yorker's article: The Well Tempered Web

And here's where Opera d'Oro comes in. I have recently researched OPD's catalog at the popular download service, eMusic. Our catalog has had immense success among the subscribers and fans of opera on this site. So much so, that we continue to hold top chart spots (La Boheme was #1 in Opera last week). There is little doubt that the digital world is a wonderful new way to reach audiences. But who would have thought that we could make such an impact in so little time?! It goes to show that our line of recordings are valuable to a new and ever expanding group of listeners. And we aren't the only ones. Numerous artists and labels are experiencing this growth, which is why I think Ms. Hendricks is trying out a new promotional strategy. She, like us and so many others, know that this great new world is out there, eager to listen and discover.

Opera d'Oro's website will definitely be an expansion of this presence in the digital world. I'm curious to know what you all will think. When it launches, send me some feedback!

OPDcast, Opus 1

operadoro@gmail.com (Bel Canto) — Thu, 13 Sep 2007 19:35:00 +0000

Opera d'Oro is pleased to announce its first "podcast"! To kick things off, we are paying tribute to the great tenor, Luciano Pavarotti.

Contained in this OPDcast are four great performances featuring Pavarotti. The tracks are listed below. Enjoy!

1. "Che gelida manina!"
from Puccini's, La Boheme
Recording: 1969

2. "lo son sol..Ah, dispar"
from Massenet's, Manon
Recording: 1969

3. "La Donna E Mobile"
from Verdi's, Rigoletto
Recording: 1966

4. "Tu che a Dio..."
from Donizetti's, Lucía di Lammermoor
Recording: 1967

More to come!!!

One of the greats

operadoro@gmail.com (Bel Canto) — Thu, 06 Sep 2007 19:11:00 +0000

Yesterday I read about Pavarotti's failing health, and thought to myself, "We may lose this great voice too soon". I awoke this morning to the news that indeed the great tenor had left us overnight. Highlights were already making the rounds on new stations, newspapers, and the Internet before I had my morning cup of tea. We all knew for some time about Luciano's health, but the news is still sad. We have lost one of the most influential and profound tenors of the last half century, and while we will no longer enjoy his voice from the stage, his legacy will carry on forever.

Feel free to leave your thoughts on this blog about the passing of Luciano Pavarotti. What are some of your favorite arias sung by him?

-bel canto

Opera d'Oro is here!!!

operadoro@gmail.com (Bel Canto) — Wed, 01 Aug 2007 17:59:00 +0000

Greetings everyone!

Welcome to the official blog site for our label, Opera d'Oro! In the coming months we will be announcing new releases, features, special bonuses on our website, and much more. In addition, we want to make this a place for discussion about our favorite performances, many of which are featured in our Grand Tier series. We hope you'll be a part of our community!

Coming soon!

We will be hosting special OPD-casts from this blog! These podcasts will display some of our featured releases as well as favorite tracks from world class performances. You can subscribe to this blog by clicking on your favorite Feed Reader icons on the left-hand part of the screen.

See you soon!

-bel canto