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Opera Live, page 9

   Found CDs: 139
 

Marschner - Der Vampyr (complete opera)

Marschner - Der Vampyr (complete opera)
ID: OPD7016
CDs: 2
Type: CD
Collection: Opera Collection
Subcollection: Opera

Roland Hermann, Arleen Auger, Anna Tomowa-Sintow, Donald Grobe, Nikolaus Hillebrand, Trudeliese Schmidt, John van Kesteren, et al., vocal soloists/Bavarian Radio Symphony Orchestra and Chorus/Fritz Rieger, conductor
Heinrich Marschner (1795-1861) was a popular Early Romantic opera composer in Germany whose works disappeared for a few decades but have been successfully revived in recent times. Two of his operas, the proto-Wagnerian Hans Heiling, and the spooky Der Vampyr, have had frequent performances and recordings lately, but we do not think there is a better version of Der Vampyr than this one! Recorded live in Munich in 1974, the performance features a number of major singers, something rare in “non-standard” operas. The recorded sound is quite exceptional, too! First performed in 1828, Der Vampyr has a hair-raising Gothic plot about Lord Ruthven, a vampire much like Count Dracula, and his thirst for the blood of young females. The music is much in the vein or Mendelssohn or Weber. Wagner was a great admirer of Marschner and actually quotes one of his themes quite literally in Die Walküre. Ilustration © Rafal Olbinski
15.00 eur Buy

Catalani - Loreley (complete opera)

Catalani - Loreley (complete opera)
ID: OPD7032
CDs: 2
Type: CD
Subcollection: Opera

Elena Suliotis, Piero Cappuccilli, et al., vocal soloists/ Orchestra and Chorus of La Scala, Milan/Gianandrea Gavazzeni, conductor

This performance, recorded live at the La Scala opera house in Milan on February 13, 1968, is the only recording of this opera ever issued with complete libretto at mid-price. Alfredo Catalani (1854-1893) was long ignored internationally among the numerous Italian opera composers of the late nineteenth century. In recent years Catalani has become more familiar with a revival of interest in his masterpiece, La Wally, one aria from which has always had currency and which achieved even wider fame in recent years from its use in films and commercials. This has led to further explorations, including a revival of Catalani’s nextbest stage work, Loreley, the first of his operas to attract attention outside of Italy. Like La Wally, Loreley has always had one excerpt which has kept the opera’s title in circulation, the atmospheric “Dance of the Ondine” (also known as “Dance of the Water Spirits”) from Act III, occasionally heard in concert programs and on recordings of light Romantic orchestral music. Greek soprano Elena Suliotis was a musical “comet” whose first appearances in the late 1960s caused considerable critical excitement- a voice, the New York Times said, with “the potential for greatness.” After a short career, Suliotis developed vocal problems and her career was truncated. This is one of the rare recordings preserving that short period of vocal splendor that has become a modern legend.

“This 1968 performance certainly makes a strong case for the opera, with a fine cast and conductor, pulling out all the stops … there is much here to admire and enjoy … Suliotis was a fascinating singer … the Scala forces, under the inspired direction of Gianandrea Gavazzeni, play beautifully.” - OPERA NEWS

Ilustration © Rafal Olbinski
15.00 eur Temporarily out of stock

Saint-Saëns - Samson et Dalila (complete opera)

Saint-Saëns - Samson et Dalila (complete opera)
ID: OPD7028
CDs: 2
Type: CD
Subcollection: Opera

Jon Vickers, Oralia Dominguez, Ernest Blanc, et al., vocal soloists/Netherlands Radio Orchestra & Chorus/Jean Fournet, conductor

Samson et Dalila, based on the colorful Bible story, has remained a reliable crowd pleaser since its premiere in 1877, and admiration for its considerable qualities has grown steadily over the years. For one thing, Dalila has no fewer than three major arias, each more enchanting than the one before - a circumstance virtually unique in Romantic opera. This live 1964 broadcast from Amsterdam presents an exciting performance with two outstanding leads, one who was universally famous, and one who should have been. Born in Canada in 1926 as the sixth of eight children, Jon Vickers was intent on a business career until, at age twenty-two, the exceptional qualities of his voice were so evident that he enrolled in the Royal Conservatory of Music in Toronto. He was invited to join the Covent Garden Opera in London in 1957 and soon embarked upon a major international career. Beginning in 1960, he sang at the Metropolitan Opera in New York for more than twenty-five years. The role of Dalila is sung here by the Mexican mezzo-soprano Oralia Dominguez, a passionate singer who was the equal of Maria Callas in fiery temperament and sang opposite her in a famous Aida recording. Nearly everyone today agrees that Dominguez should have become a major international star. Her relatively few recordings are correspondingly all the more desirable.

“If you haven’t heard Vickers in the role of Samson, you haven’t heard Samson … [he is] caught here in his absolute prime … Oralia Dominguez sings Dalila … it’s a superb performance. The give-and-take between conductor and singers is absolutely organic … and the sheer tactile quality of Saint-Saëns’ score [is] beautifully served here.” - ROBERT LEVINE

Ilustration © Rafal Olbinski
15.00 eur Temporarily out of stock

Halévy - La Juive (complete opera)

Halévy - La Juive (complete opera)
ID: OPD7022
CDs: 2
Type: CD
Subcollection: Opera

Richard Tucker, Yasuko Hayashi, David Gwynne, et al., vocal soloists/ Anton Guadagno, conductor

La Juive is a spectacular five-act grand opera with high drama, gigantic set pieces, and thrilling music - the Romantic era’s version of Cinemascope. Seldom mounted today due to cost, it can still be greatly enjoyed in the theater of the imagination. Live performance of an important modern revival in London, 1973. This was one of the great tenor Richard Tucker’s last appearances in public, at age 60, not long before his death. And it is one of the most emotional stage appearances ever captured on disc: when he sings the opera’s most dramatic aria, “Rachel, quand du Seigneur,” the audience goes wild. Jacques Halévy (1799-1862) studied at the Paris Conservatory with Cherubini and at age 20 won the highest student honor, the Prix de Rome. He was immediately engaged as a professor, and taught harmony, counterpoint and composition for many years to students such as Gounod,Massé, Saint-Saëns, Lecocq, and also Bizet, who married one of his daughters after his death. Despite his heavy academic responsibility, Halévy composed 38 lyric works for the stage, a majority of them light operas, but ten in the French “grand opera” form.

"A viable masterpiece…with great musical and theatrical force…this performance is one of real commitment; no one holds back in an effort to recreate some of the excitement this music generated in its time…Tucker makes the most of this opportunity, bringing down the house with his ringing tone and emotional outpouring…Anton Guadagno leads a performance which is dramatically taut… the live recorded sound is excellent for the period.” - OPERA NEWS

Ilustration © Rafal Olbinski
15.00 eur Temporarily out of stock

Bellini - I Capuleti e i Montecchi (complete opera)

Bellini - I Capuleti e i Montecchi (complete opera)
ID: OPD7021
CDs: 2
Type: CD
Subcollection: Opera

Fiorenza Cossotto, Antonietta Pastori, Renato Cavarini, Ivo Vinco, et al., vocal soloists/RAI Orchestra & Chorus, Rome/Lorin Maazel, conductor
Bellini’s opera version of the Romeo and Juliet story is one of his finest early works, the first to unequivocally display his mature style. It had a fully successful early run, although it has suffered much neglect in subsequent years, in modern times mostly because the part of Romeo is written for a mezzo-soprano. The opera is now customarily given in the original voice ranges, and the present recording is of one of the first modern performances to do so. Live performance, Rome, October 23, 1958.
“Cossotto is in splendid form…she commands every scene in which she appears…” - FANFARE
“…conducted with tremendous energy and drama by the then 27-year-old Lorin Maazel…Cossotto was then in such glorious voice that she arrests one’s attention at each of her appearances…Pastori…is an affecting heroine...” - GRAMOPHONE
"This live performance…is of particular interest to fans of mezzo Fiorenza Cossotto, here caught early in her career, before the voice had grown into the dramatic, Verdian instrument we’re familiar with. She sings Romeo well, with a fine, boyish tone. Otherwise unknown soprano Antonietta Pastori is a lovely Giulietta, singing with small, well-focused, pretty tone. Similarly not-famous Renato Gavarini is a very good Tebaldo - rhythmically accurate and exhibiting a good-sized, tonally pleasant tenor…its interesting to note what fine singers were floating around Italy in the 1950s; today they might be stars.” - ROBERT LEVINE, CLASSICSTODAY Ilustration © Rafal Olbinski
15.00 eur Temporarily out of stock

Richard Wagner - Die Walküre - Herbert von Karajan, conductor

Richard Wagner - Die Walküre - Herbert von Karajan, conductor
ID: IDIS6549-51
CDs: 3
Type: CD
Collection: Opera Live
Subcollection: Voices and Orchestra

19.00 eur Temporarily out of stock

Donizetti - L'elisir d'amore, Opera, Op. 72

Donizetti - L'elisir d'amore, Opera, Op. 72
ID: GFO00562
CDs: 2
Type: CD
Subcollection: Opera

Mirella Freni (Adina), Luigi Alva (Nemorino), Enzo Sordello (Belcore), Sesto Bruscantini (Dulcamara), Emily Maire (Giannetta)

The Royal Philharmonic Orchestra & The Glyndebourne Chorus, Carlo Felice Cillario

Recorded live at Glyndebourne at one performance during June 1962.

The 2CD set is packaged as a 150 page hard bound book containing a full libretto translated into English, French and German along with a commissioned article about the opera, and synopsis in English, French and German.

Designed and Directed by Franco Zeffirelli.

Glyndebourne Opera has a history of trend setting and pioneering opera productions and Donizetti’s opera L’elisir d’amore is no exception. Popular in Donizetti’s own lifetime, L’elisir faded into relative obscurity until the 1890s when Caruso championed the role of Nemorino: his dedication and conviction were such that Covent Garden arranged a production of the opera in 1902. L’elisir was a personal favourite of Caruso’s, so much so that in 1920 he played Nemorino in his last appearance with the Metropolitan Opera. Almost 60 years later, in 1961, it was Glyndebourne who staged a production of L’elisir d’amore designed and directed by Franco Zeffirelli. Such was the success and acclaim for this production that Glyndebourne revived it in 1962, enhancing the production with the addition of the lively and capricious Mirella Freni.

As the press noted: ‘Her [Freni's] looks and her cantabile singing melt, so to speak, on the tongue, and she acts her teasing charades with Sergeant Belcore as if nothing were farther from her mind than cruelty.’ (The Times, August 1962) and ‘Mirella Freni, the sparkling new Adina, rightly allowed real tenderness to shine through vanity and caprice.’ (The Sunday Times, August 1962)

Mirella Freni was first engaged by Glyndebourne in 1960 (and sings Susanna in Glyndebourne’s own recording of Mozart’s Le nozze di Figaro GFOCD00162).

Previously she had also performed at the opera house in Torino in the late 50s and sung with Netherlands Opera in 1959-60 season, but her international break and recognition came by virtue of her role as Adina in this 1962 production.

This recording, released here for the first time, precedes Freni’s EMI recording of L’elisir d’amore with Nicolai Gedda as Nemorino in a Rome Opera production by some 5 years. In this recording, Freni has a cast of equals around her. As the besotted Nemorino, Luigi Alva vividly portrays the wounded innocent with The Daily Telegraph noting in August 1962 that ‘Alva’s Nemorino is a wonderful combination of rustic clowning and exquisitely finished bel canto’, with Enzo Sordello a baritone voice big enough to fill a stadium, providing a fresh virile and bold Belcore. Conductor Carlo Felice Cillario enjoyed a 60 plus year career and is remembered for his masterful interpretations of Puccini, Verdi and Donizetti operas and stands as one of the most singer-friendly conductors of all time.

Track list:
CD:1
L'elisir d'amore, opera
1. No. 1. Preludio
2. Act 1. Coro d'introduzione. Bel conforto al mietiore
3. Act 1. Cavatina. Benedette queste carte!
4. Act 1. Cavatina. Marziale
5. Act 1. Cavatina. Come Paride vezzoso
6. Act 1. Cavatina. Orse m'ami, com'io t'amo
7. Act 1. Recitativo. Intanto, o mia ragazza, occuperò la piazza
8. Act 1. No. 2. Scena. Una parola, o Adina
9. Act 1. Duetto. Chiedi all'aura lusinghiera
10. Act 1. No. 3. Coro. che vuol dire codesta sonata?
11. Act 1. Cavatina. Udite, udite, o rustici
12. Act 1. No. 4. Recitativo. Ardir! Ha forse il cielo mandato
13. Act 1. Scena e Duetto. Voglio dire... Io stupendo Elisir
14. Act 1. No. 5. Recitativo. Caro Elisir! sei mio!
15. Act 1. Duetto. Lallarallara, la, la, la
16. Act 1. Terzetto. Tran, tran... In guerra, ed in amor
17. Act 1. Finale. Quartetto. Signor sargente
18. Act 1. Finale. Quartetto. Adina, credimi, te ne scongiuro...
19. Act 1. Finale. Quartetto. Andiam, Belcore
CD:2
1. Act 2. No. 6. Coro d'introduzione. Cantiamo, cantiam
2. Act 2. Barcaruola a due voci
3. Act 2. Le feste nuziali!
4. Act 2. Ai perigli della guerra
5. Act 2. Qua la mano, giovinotto
6. Act 2. No. 8. Coro. Saria possibile?
7. Act 2. No. 9. Quartetto. Dell'elisir mirabile
8. Act 2. Come sen va contento!
9. Act 2. No. 10. Duetto. Quanto amore!
10. Act 2. No. 11. Romanza. Una furtiva lagrima
11. Act 2. No. 12. Recitativo ed Aria. Prendi, prendi, per me sei libero
12. Act 2. No. 13. Aria e Finale. Marziale
13. Act 2. Finale. Ei corregge ogni difetto
20.00 eur Buy

Mozart - Idomeneo, K366 - Pavarotti -1964 Glyndebourne debut recording

Mozart - Idomeneo, K366 - Pavarotti -1964 Glyndebourne debut recording
ID: GFO00664
CDs: 2
Type: CD
Subcollection: Opera

Recorded live at Glyndebourne 14 August 1964.
Includes 2 discs in a 113 page hard-bound book


Mozart is very much Glyndebourne’s signature composer and as a point of fact Glyndebourne was instrumental in putting Mozart back into the repertoire in the UK, so much so that the performing edition of Idomeneo was commissioned by Glyndebourne’s music director Fritz Busch. Glyndebourne’s 1951 Messel production of Mozart’s Idomeneo was the first professional performance in Great Britain. This 1964 recording is from the last staging of the Messel production and an opera John Pritchard had conducted at Glyndebourne since 1952. Pritchard was a consummate Mozartian and this recording allows, for the first time, Janowitz and Pavarotti to be heard before their respective international careers took off. Their vocal timbres are instantly recognisable - fresh, vital, flexible and already burgeoning with a distinctive projection of the text and drama. Pavarotti went on to have a long association with this opera, moving to the title role at the Metropolitan Opera in New York and recording it in the early digital age of 1983 with the Vienna Philharmonic Orchestra conducted once again by Pritchard. Richard Lewis as Idomeneo in the recording has a gracious sense of style and carries the day.

In the past (10+ years ago) there have been pirated/bootlegged releases of this production taken from a BBC off air recording. This release is from Glyndebourne’s own archive and is NOT the previously available BBC performance.


Richard Lewis (Idomeneo), Gundula Janowitz (Ilia), Luciano Pavarotti (Idamante), Enriqueta Tarrés (Elettra), Dennis Wicks (Nettuno), Neilson Taylor (Arbace), David Hughes (Gran Sacerdote)

London Philharmonic Orchestra & The Glyndebourne Chorus, John Pritchard


Track list:
CD: 1
Idomeneo, rè di Creta, opera, K. 366
1. Ouverture
2. Act 1. Recitativo. Quando avran fine omai
3. Act 1. No. 1. Aria. Padre, germani, addio!
4. Act 1. Recitativo. Ecco, Idamante, ahimè!
5. Act 1. Recitativo. Radunate i Trojani, ite
6. Act 1. No. 2. Aria. Non ho colpa
7. Act 1. Recitativo. Ecco il misero resto de' Trojani
8. Act 1. No. 3. Coro. Godiam la pace, trionfi Amore
9. Act 1. Recitativo. Prence, signor, tutta la Grecia oltraggi
10. Act 1. No. 4. Aria. Tutte nel cor vi sento
11. Act 1. No. 5. Coro. Pietà! Numi pieta!
12. Act 1. Recitativo. Eccoci salvi alfin
13. Act 1. No. 6. Aria. Vedrommi intorno l'ombra dolente
14. Act 1. Recitativo. Cieli! che sento?
15. Act 1. No. 7. Aria. Il padre adorato
16. Intermezzo. No. 8. Marcia
17. Intermezzo. No. 9. Coro. Nettuno s'onori, quel nome risuoni
18. Act 2. No. 10. Recitativo. Siam soli. Odimi Arbace
19. Act 2. Recitativo. Se mai pomposo apparse
20. Act 2. No. 11. Aria. Se il padre perdei
21. Act 2. Recitativo. Qual mi conturbai sensi
22. Act 2. No. 12. Aria. Fuor del mar ho un mar in seno
CD: 2
1. Act 2. Recitativo. Chi mai del mio provò piacer più dolce?
2. Act 2. No. 13. Aria. Idol mio, se ritroso
3. Act 2. No. 14. Marcia. Odo da lunge armonioso suono
4. Act 2. Recitativo. Sidonie sponde!
5. Act 2. No. 15. Coro. Placido è il mar, andiamo
6. Act 2. Recitativo. Parti Idamante
7. Act 2. No. 16. Terzetto. Pria di partir, oh Dio!
8. Act 2. No. 17. Coro. Qual nuovo terrore!
9. Act 2. Recitativo. Eccoti in me, barbaro Nume!
10. Act 2. No. 18. Coro. Corriamo, fuggiamo
11. Act 3. No. 19. Aria. Zeffiretti lusinghieri
12. Act 3. Recitativo. Eistesso vien... oh Dei!
13. Act 3. Recitativo. Principessa, a'tuoi sguardi
14. Act 3. No. 20. Duetto. Spiegarti non poss'io
15. Act 3. Recitativo. Cieli! che vedo?
16. Act 3. No. 21. Quartetto. Andrò ramingo e solo
17. Act 3. No. 24. Coro. O voto tremendo!
18. Act 3. No. 25. Marcia
19. Act 3. No. 26. Cavatina con coro. Accogli, o rè del mar
20. Act 3. Coro. Stupenda vittoria!
21. Act 3. Recitativo. Qual risuono qui intorno
22. Act 3. No. 27. Recitativo. Padre, mio caro padre
23. Act 3. No. 27a. Aria. No la morte
24. Act 3. Recitativo. Ma che più tardi?
25. Act 3. No. 28a. La Voce. Idomeneo cessi essere
26. Act 3. Aria. D'Oreste, D'Ajace
27. Act 3. No. 30. Recitativo. Popoli, a voi l'ultima legge impone
28. Act 3. No. 30a. Aria. Torna la pace alcore
29. Act 3. No. 31. Coro. Scenda Amor, scenda Imeneo
20.00 eur Buy

Bellini - I Puritani

Bellini - I Puritani
ID: GFO00960
CDs: 2
Type: CD
Subcollection: Opera

Recorded live at Glyndebourne on 5 June 1960.
Includes 3 discs in a 80 page hard-bound book.

Italian conductor Vittorio Gui was Glyndebourne’s musical director from 1951 - 1963, and introduced a strong Italian theme in his programming - Rossini and Bellini amongst them. Bellini’s last and arguably richest opera I Puritani, comes from Glyndebourne’s recording archive, dated 1960 and was the first performance of this opera in Britain since 1887.

This is Joan Sutherland’s debut in the role of Elvira. This young and extraordinary bel canto talent is the heroine in this production. She has a beauty of tone, her voice fluent and eloquent, the intimate confines of the Glyndebourne opera house allowing the warm glowing colour in Sutherland’s voice to radiate.

So acclaimed was this production that it was selected for Glyndebourne’s return to the Edinburgh Festival after a 4 year absence and Sutherland, so in love with her Glyndebourne costumes was she, that she borrowed them from the production for her performances as Elvira at the Gran Teatro del Liceo in Barcelona in December 1960.

Joan Sutherland (Elvira), Nicola Filacuridi (Arturo), John Kentish (Bruno), Giuseppe Modesti (Giorgio), Ernest Blanc (Riccardo), David Ward (Valton) & Monica Sinclair (Enrichetta)

The Royal Philharmonic Orchestra & The Glyndebourne Chorus, Vittorio Gui


Track list:
CD: 1
I Puritani, opera
1. Act 1. Introduzione
2. Act 1. All'erta! All'erta! L'alba apparì,
3. Act 1. O di Cromwell guerrieri
4. Act 1. A festa!
5. Act 1. Recitativo ed Aria. Or dove fuggo io mai?
6. Act 1. Recitativo ed Aria. Ah! per sempre io ti perdei
7. Act 1. Recitativo ed Aria. T'appellan le schiere
8. Act 1. Scena e Duetto. O amato zio, o mio secondo padre!
9. Act 1. Scena e Duetto. Chi mosse a' miei desir il genitor?
10. Act 1. Coro e Quartetto. Ad Arturo onore
11. Act 1. Coro e Quartetto. A te, o cara
12. Act 1. Finale primo. Il rito augusto si compia senza me
13. Act 1. Finale primo. Cavalier
14. Act 1. Finale primo. Figlia a Enrico, a Carlo sposa
15. Act 1. Finale primo. Son vergin vezzosa
16. Act 1. Finale primo. Sulla virginea testa
17. Act 1. Finale primo. Ferma! Invan rapir pretendi
18. Act 1. Finale primo. Dov'è Arturo?
19. Act 1. Finale primo. Oh vieni al tempio, fedele Arturo
20. Act 1. Finale primo. Ma tu già mi fuggi?
CD: 2
1. Act 2. Introduzione e Romanza. Ah dolor! Ah terror!
2. Act 2. Introduzione e Romanza. Cinta di fiori e col bel crin disciolto
3. Act 2. Introduzione e Romanza. E di morte lo stral non sarà lento
4. Act 2. Scena ed Aria. O rendetemi la speme...
5. Act 2. Scena ed Aria. Qui la voce sua soave mi chiamava e poi sparì
6. Act 2. Scena ed Aria. Vien, diletto, è in ciel la luna
7. Act 2. Duetto - Finale secondo. Il rival salvar tu dêi
8. Act 2. Duetto - Finale secondo. Se tra il buio un fantasma vedrei bianco, lieve...
9. Act 2. Duetto - Finale secondo. Riccardo! Riccardo!
10. Act 2. Duetto - Finale secondo. Suoni la tromba
11. Act 3. Uragano
12. Act 3. Romanza e Duetto. Son salvo, alfin son salvo
13. Act 3. Romanza e Duetto. A una fonte afflitto e solo
14. Act 3. Romanza e Duetto. Qual suon!
15. Act 3. Romanza e Duetto. Son già lontani
16. Act 3. Romanza e Duetto. Finì... me lassai
17. Act 3. Romanza e Duetto. Che provò lontan da me?
18. Act 3. Romanza e Duetto. Vieni, vieni fra queste braccia
19. Act 3. Finale terzo. Arturo? Lo sciagurato!
20. Act 3. Finale terzo. Cavalier, ti colse il Dio
21. Act 3. Finale terzo. Credeasi, misera!
22. Act 3. Finale terzo. Suon d'araldi?
20.00 eur Buy

Prokofiev - Betrothal in a Monastery ('The Duenna'), Opera, Op. 86

Prokofiev - Betrothal in a Monastery ('The Duenna'), Opera, Op. 86
ID: GFO00206
CDs: 2
Type: CD
Subcollection: Opera

Recorded live at Glyndebourne on 12, 15 & 22 August 2006. A recording of a rarely performed work with consummate Russian conductor and cast.

Prokofiev’s last opera, Betrothal in a Monastery, launched the Glyndebourne label in 2008. According to Shostakovich it was ‘one of Prokofiev’s most radiant and buoyant works’. It has been unavailable for several months and back in stock, repackaged in line with the more recent Glyndebourne releases.

Luxury 256-page hard-bound book.
Essay by Harlow Robinson, world authority on Soviet and Russian cultural history.
Includes full libretto in Cyrillic with English, French and German translations.


Viascheslav Voynarovskiy (Don Jerome), Andrey Breus (Ferdinand), Lyubov Petrova (Louisa), Alexandra Durseneva (The Duenna), Vsevolod Grivnov (Don Antonio), Nino Surguladze (Clara), Sergei Alexashkin (Mendoza), Alan Opie (Don Carlos)

London Philharmonic Orchestra & The Glyndebourne Chorus, Vladimir Jurowski

Track list:
CD:1
Betrothal in a Monastery ('The Duenna'), Opera, Op. 86
1. Prelude
2. Act 1. Tableau 1. Scene 1. But this is just fantasy!
3. Act 1. Tableau 1. Scene 2. Plain. Round-shouldered
4. Act 1. Tableau 1. Scene 3. She has shaken your hand
5. Act 1. Tableau 1. Scene 4. The moon looks in your window
6. Act 1. Tableau 1. Scene 5. Stop that mewing
7. Act 1. Tableau 1. Scene 6. Masker's Dance
8. Act 1. Tableau 1. Scene 7. I had better get her married off
9. Act 1. Tableau 1. Scene 8. Friends, depart
10. Act 2. Tableau 2. Scene 1. It will work, Nanny, won't it?
11. Act 2. Tableau 2. Scene 2. Splendid, Señor, splendid
12. Act 2. Tableau 2. Scene 3. Will you cherish me in my old age?
13. Act 2. Tableau 2. Scene 4. Give it back!
14. Act 2. Tableau 2. Scene 5. If you have a daughter
15. Act 2. Tableau 2. Scene 6. It looks like the first act has been played out wi
16. Act 2. Tableau 3. Scene 1. Buy some fish from Señor Mendoza's barges!
17. Act 2. Tableau 3. Scene 2. Rosina... Rosina...
18. Act 2. Tableau 3. Scene 3. Ferdinand alone is dearer
19. Act 2. Tableau 3. Scene 4. I had known what pranks
20. Act 2. Tableau 3. Scene 5. My beard? My beard is not at all bad
21. Act 2. Tableau 3. Scene 6. There is no greater happiness
22. Act 2. Tableau 4. Scene 1. Yes, yes, yes!
23. Act 2. Tableau 4. Scene 2. My pretty... my pretty
24. Act 2. Tableau 4. Scene 3. When the cheerful fop
25. Act 2. Tableau 4. Scene 4. Well?
CD:2
1. Act 3. Tableau 5. Scene 1. Ah, time does not want to move on
2. Act 3. Tableau 5. Scene 2. Come in, come in
3. Act 3. Tableau 5. Scene 3. Should we take a sly look?
4. Act 3. Tableau 5. Scene 4. It's bad to peep
5. Act 3. Tableau 5. Scene 5. How my soul is beaming!
6. Act 3. Tableau 6. Scene 1. You are not playing in tune
7. Act 3. Tableau 6. Scene 2. My respectful greetings to the Señor!
8. Act 3. Tableau 6. Scene 3. Please, let us continue
9. Act 3. Tableau 6. Scene 4. Lopez! Lopez!
10. Act 3. Tableau 7. Scene 1. Here I am, a nun
11. Act 3. Tableau 7. Scene 2. They have gone, gladdened, happy and in love...
12. Act 3. Tableau 7. Scene 3. It must be here
13. Act 4. Tableau 8. Scene 1. The bottle is the sun of our lives
14. Act 4. Tableau 8. Scene 3. They bring more wine!
15. Act 4. Tableau 8. Scene 4. Take care, Antonio!
16. Act 4. Tableau 8. Scene 5. Straight down to business now, Don Ferdinand
17. Act 4. Tableau 9. Scene 1. I can't understand it
18. Act 4. Tableau 9. Scene 2. Aha, here's Mendoza at last
19. Act 4. Tableau 9. Scene 3. What is this? Why are you here?
20. Act 4. Tableau 9. Scene 4. Son! At last
21. Act 4. Tableau 9. Scene 5. Don Jerome, Don Herome!
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