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Luna piena, paffuta, rossa, che illuminava la notte come fosse giorno, che diffondeva la sua luce dappertutto e portava gioia, gioia, gioia.
E con essa le grida a squarciagola della notte tropicale, il soffio selvatico e dolce del vento tra i peli delle braccia, il gemito vacuo delle stelle, il muggito a denti stretti del riflesso sull'acqua. Il suo richiamo solca il cielo opaco fino alle orecchie frementi di quella cara vecchia presenza nell'ombra: Quella luna canaglia e luciferina, tentatrice e sbruffona, la cui voce cala dal cielo deserto fino nel cuore cupo dei mostri notturni, richiamandolo dai loro gioiosi campi da gioco.
Cerca proprio quel mostro, quello dietro l'oleandro, con il corpo striato dai raggi lunari che filtrano attraverso le foglie, quello che attende eccitato il momento propizio per balzare dalle tenebre. Fedra delivers a monologue during which she takes poison; but Teseo is the character around whom this scene-complex is organized.
The goddess restores Ippolito—but not Fedra—to life; son is reconciled to father, lover to lover; and the opera ends with a chorus of joy. Throughout the opera he revealed his concern for musical and dramatic continuity within the many choral-solo tableaux. Careful tonal planning and the use of recurring motives contribute to the coherence that he achieved; and he made sure that applause did not interrupt the dramatic action at important moments.
Just as he ends the aria, Diana makes her appearance above the stage.
The stage directions—exceptionally detailed here, as they are throughout the libretto—describe the moment as follows: In the act of trying to kill himself Teseo is restrained by Clearco, and the music, changing its melody, gives way to a sweet sound, with which one sees descending from above a group of resplendent clouds, which reveal at their radiant center an astonishing divinity, who, because she is seated on a chariot, holds a bow and arrows, and has on her forehead the sign of the half moon, is recognized as Diana, and in the meantime the following [chorus] is sung.
No composer is named in the score. Table 1. Teseo a Stige: Large-Scale Structure. Scene-Complexes in Boldface.
Download Pulival Kalyanam Act 1 Choral-Solo Tableau 1 Scenes 1—5 Temple of Diana; chorus of priestesses Aricia alone Scene 6 Choral-Solo Tableau 2 Scenes 7—9 Underworld; chorus of Furies; Teseo sings in alternation with chorus; Teseo prays to Neptune Scenes 10—16 Royal gardens; confrontation of Fedra and Ippolito; no chorus Act 2 Scenes 1—8 Atrium of the royal palace; confrontation of Teseo and Ippolito; no chorus Choral-solo tableau 3 Scenes 9—10 Temple of Neptune; chorus of priests and people; Teseo sings in alternation with chorus; Teseo prays to Neptune Aricia and Clearco Scene 11 Choral-solo tableau 4 Scenes 12—17 Near the temple of Diana; chorus of priests, priestesses, and people The Opening Tableau The opening choral-solo tableau of Teseo a Stige shows Nasolini skillfully working with all the dramatic elements at his disposal.
Example 1. As if to bring out their special literary as well as dramatic importance, Nasolini accompanied these words with string tremolos. On the point of consecrating herself to Diana, Aricia is interrupted by the entrance of Ippolito, who tries to dissuade her from her rash designs.
A long dialogue in simple recitative follows, then a cavatina a term often used, as here, for an aria in slow tempo in the form A — B — A for Ippolito. No composer is mentioned in the Viennese score KT , which contains both arias. After Ippolito leaves the stage Aricia declaims some simple recitative, and the chorus enters again.
The opening gesture and the ascending dotted half notes in the bass remind one of another chorus of initiates first heard in Vienna only two months before Teseo Ex.
Dunque a danno mio. Still bound by the conventions of the exit aria and probably also to give time for stagehands to prepare a change of scenery backstage, and for the male chorus required in the next scene to get into position Nasolini and his librettist gave Aricia an aria that precedes her exit.
That would allow stagehands to prepare the scenery for the next scene-complex using a long set while she sang. On long and short sets in eighteenth-century opera see John A. Rice, Mozart on the Stage, Cambridge, , — After some simple recitative dialogue between Teseo and Tisifone, one of the furies , Teseo finds himself in the underworld itself.
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Stage instructionsTeseo in the a Stige libretto, full of vivid details and Florence Act 1, Scenes 7—9 overloaded with superlatives, call for a dance of infernal spirits. In the following translation, square brackets mark the passages omitted in Vienna: The [most horrible] interior of the vast [and most frightful] kingdom of Pluto.
At the entrance, one sees inexorable Destiny sitting on a globe, with the urn in one hand, writing with the other the fates of men.
Fear sits next to her on one side, and Desperation on the other. At the opening of this [most terrible] scene, [one sees Pluto rising and at the same time all the infernal deities move, with a tremendous noise.
Pluto, descending angrily and threateningly from his throne into their midst, aware of the arrival of a daring mortal who is approaching in violation of his laws, and of those of Destiny, communicates to them with gestures of implacable anger the approach of the foolhardy stranger, and stirs up in them a rage for the cruelest possible vengeance.
Example 4. Teseo a Stige, Underworld Scene, mm. Square brackets enclose words and passages omitted from the Vienna libretto.
When the Queen of the Night first invoked the vengeance of hell less than two months before Teseo reached the stage of the Burgtheater, she did so in D minor.
But Teseo was written for an Italian audience, so the sound of D minor may not have been enough, by itself, to evoke infernal vengeance. Again the strident octave Ds in the violins, now played as a menacing tremolo, pierce through the full orchestra Ex. Teseo appears: The furies attack him, singing a sudden, fortissimo diminished chord, and command him to go no further.
Teseo brings the tonality back to E flat major and sings out lyrically, accompanied by violins and violas an octave lower playing simple arpeggios.
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Eventually Teseo and the furies together reach a cadence in E flat major; their togetherness is a little out of place since, to judge by their words, neither side has budged. This impressive number ends with a half cadence, V of C minor, so that although simple recitative follows, it is clear that the tableau is not yet complete.
See Example 7 below for three examples of this schema in recitative.
Eventually he gives up, and prays to his father Neptune to free him from the underworld. He asks Pluto to have mercy on Teseo Ex. After some conversation between Mercury and Pluto in simple recitative, Pluto consents, in the interest of peace among the gods, to let Teseo go free, but not before condemning him to hear what the future has in store.
Teseo expresses his anguish over this prediction in an obbligato recitative and then launches into a big, elaborate aria that begins with a Largo in common time and shifts later to a fast tempo. With this transition, Nasolini favored dramatic continuity over the applause that Giovanni Ansani, the tenor who created the role of Teseo in Florence, might have received at this moment.
D minor, hinted at by Pluto when he tells Teseo of the torments to come, returns here in earnest, and there are other ways in which this chorus rounds off the tableau. Jeff Lindsay Dexter PDF Download The chorus ends with a return to its opening sdrucciolo rhythm, note-values cut in half, and on repeated Ds, as the orchestra, sotto voce, repeats the harmonic progression to which the furies uttered their first words.
Example 7. See note 54 above. Jeff lindsay il nostro caro dexter pdf ita romanzo thriller. Connect Generations abbey system of ace bidding in contract bridge this bidding system was developed. Jeff Lindsay, Dexter04 Dexter l'esteta, Italian.
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Il nostro caro Dexter, Jeff. Edwin Lillianna Country:Angelo Testori, in contrast, was a young, inexperienced musico. A-Wn, KT Example 3. The opening tableau introduces the lovers Aricia and Ippolito, and Fedra, who has persuaded Aricia to devote herself to Diana and to eternal virginity.
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The Gazzetta toscana again praised her singing, along with that of the tenor Giovanni Ansani: With great magnificence and with complete public satisfaction, the second opera [of Carnival ], entitled I Tintaridi, was performed in the Theater of Via della Pergola. In this first quatrain Fedra speaks directly to her suffering, and sings in a tragic C minor.
See Example 7 below for three examples of this schema in recitative. No composer is named in the score.
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