The work proved to be very popular in Germany and in Austria where its successful debut at the in 1845 led to a commission from the theatre to compose another opera, , which premiered there in 1847. Martha is on my personal top ten list, ahead of many operas which are far more famous but less beautiful. But also the calming of her concern convinced that imitation was flattery. The tenor, Stracke, offers a fine example of the German lyric tenor style, and would have been a far happier choice for the part of Stradella--if we could ignore the twenty-six year gap between the performances. His voice lines often exchange motives with the bass line in a real expressive dialogue. Catherine Bott has been this generation's most dazzling baroque soprano, and she was at her peak here. Stradella lived at a time when Italian music was turning away from sacred church modes and embracing the secular major and minor scales.
Martin in the Fields Chamber Ens. Sa contribution majeure est l'invention du. I stood up to the challenge, as cowardly as brave, with sea legs on land, sailing from one city to another, almost going down, buoyant again, even against the wrath of the gods. The assassins, hearing Stradella sing, are so moved that the can't carry out their assignment. It's all utterly delectable -- yes, even with that notorious beheading.
I got this because I enjoy Flotow's best known opera, Martha, but had never heard, or even heard of, any other operas by Flotow. This production, dating from 1977 Bayerische Rundfunk , features some fine singing by Werner Hollweg in the title roll, and Helen Donath as Leonore. I did play a little—as I felt Stradella would have—with some of the myths that even while he lived were born and nourished. A scandalous love affair with a Genoese noblewoman earned Stradella the wrath of the Lomellini family, and in 1681 the composer was killed by a Lomellini agent. Soon other Roman notables followed suit, and Stradella produced an assortment of motets, prologues and intermezzi to be performed between the acts of other composers' operas throughout the 1660s. Stradella the man was something of a 'mixed genre' himself.
Stradella partit pour Gênes ; il y composa opéras et cantates. In Turin in 1677 an attempt was made to murder him, for reasons that are not known, though it was believed to be at the instigation of a Venetian senator with whose fiancée Stradella had eloped. Born in Rome in 1644, Stradella first appears in the historical record eleven years later when his name is among the singers listed at St. His substantial output includes 27 surviving purely instrumental works -- virtually all in sonata da chiesa design, and likely a great influence on the young Arcangelo Corelli, whom we know to have had a familiarity with Stradella's music. To sum up, this performance lives up to the reputation. John the Baptist, which is well sung by the French counter-tenor Gérard Lesne.
Bassi arrives and discovers that his instructions have not been carried out, but, when he offers the bandits more money, they agree again to murder Stradella. Of course, a little truth can spark and fuel lies. And it's not going to be your favorite music. But it is a very good opera which does not deserve its current obscurity. While Corelli in his Op. Stradella was a major proponent of this new , which influenced neighboring European countries with this exciting musical style.
Stradella seems to have had plenty of money he certainly never relied on musical commissions to survive , and it is very likely that he was born into the aristocracy. Stradella's vocal compositions show a great musical and textual diversity. Stradella may have been the most famous of Baroque composers during the 19th Century, even though his music was never performed. Hollweg, the tenor, is fine but effortful. Trois compositeurs le firent, parmi lesquels le plus célèbre fut avec son Alessandro Stradella représenté à en. No summary of the plot.
It was also heard in at the in 1858, in Brussels at the in a French translation by in 1859, in Paris at the in Italian in 1863, and in London at the in 1864. The earlier the opera, the more revolutionary! Alessandro Stradella, 1639-1682: His Life and Music. Performer: Kathleen Battle, John Feeney, Anthony Newman, Daire Fitzgerald. Particularly interesting in his instrumental music is his novel application of concerto grosso texture to accompaniments of arias in some of his stage works and oratorios. The opera is set in Venice in the late 17th Century. It's easy to see, given the dearth of competition, why the opera would have been beloved in its own time, and equally easy to see why it has failed to secure a place in the repertoire of great operas.
Alessandro Stradella: Fascinating, Flawed, Forgiven, and Unforgettable In June of 2002 I found myself expectantly listening to the music of Alessandro Stradella and an engaging encapsulation of his story replete with romance and intrigue, triumph and tragedy, like an opera drawing on the divinity and failings of gods and men. That morning the host featured a certain 17th century Italian maestro. As a cembalist and conductor he built an impressive discography, for Brilliant Classics he recorded works by Trabaci, dAnglebert, Scarlatti and Bach. The work is full of vitality and deep emotionalism. After an attempt on his life in October of 1677 Stradella traveled to Genoa, where a number of his operas and sacred oratorios were subsequently performed.
These are the first words I wrote for A House Near Luccoli, which ended up in the third chapter: Before her was a gracious creature, especially his hands composing in mid-air and eyes shifting slowly in observation and expression. Set in and the countryside near , it is loosely based on the colourful life of the 17th-century Italian composer and singer. His colorful life and bloody death clearly were viewed as creating a good story for an opera of its own. He was 38 years old. Basses , , and have powerful, focused voices and are skilled comedians, keeping the action lively. In 1669 he was part of a scheme to embezzle money from the Church, a criminal act that didn't interfere with his composition of numerous cantatas on sacred themes.