Stinger for animedb
Seconda edizione dell'AllCasting Show a Roma, Teatro Tenda Strisce. Sempre più stretta la collaborazione con Mediaset e grandi programmi per la terza edizione 2009!!
More cool stuff including free music at: http://stretta.com Follow me on twitter: http://twitter.com/stretta I'm not obsessed about this dog... I just thought the video merited another interpretation. I was just looking for a short project to do today while my daughter napped. Download the mp3 here: http://stretta.blogspot.com/2009/06/dog-malfunction-jazz-version-mp3.html
03:27
Gioachino Rossini - Guglielmo Tell (Guillaume Tell) - "Giuriam, giuriamo" (Sherrill Milnes, Nicolai Ghiaurov & Luciano Pavarotti) - No. 2. Stretta
The second finale to Rossini's "Tell" is home to one of Rossini justly renown passages, connecting three full contrasting choruses of revolutionary missions from all cantons of Switzerland: a warlike chant of the farmers from Underwald; the gentle but still unsure song of the shepherds from Schwitz, slowly making their way through the forest; and, finally, the fishermen from Uri, moving their boats through the waters of the lake, before descending into a frenetic, nervous song of both fear and wonder. Finally, after a long and passionate speech from Tell himself (which I regretfully had to cut), a brilliant stretta, slowly growing in excitement up to the final "all'armi". Enjoy :)!
08:35
Vincenzo Bellini - I Capuleti ed i Montecchi - "Stolto! ad un sol mio grido" (Giacomo Aragall & Luciano Pavarotti)
The duet between Romeo and Tebaldo would have to be one of my personal highlights from Bellini's treatment of Shakespeare. Dealing with the men's preparation for the duel (which never happens), not only is it musically rich (especially, the stretta with its' stunning immediacy of emotion), but the piece also abandons the classical central andante, replacing it with a dramatic dialogue between the rivals over a simple but effective funeral chorus, lamenting Julietta's supposed death (accompanied suggestively only by harp, further highlighting the drama); divides the stretta into two contrasting sections: two sustained ariosos for both the men shocked by the tragic news and the stretta proper (here taken a bit too slow for my tastes, though this decision makes it more lyrical), as both men express their compassion for each other's plight. Two talented tenors in their prime, Giacomo Aragall and Luciano Pavarotti, provide much vocal excitement, while managing to communicate ideally their characters' feelings. Hope you'll enjoy :).
Improvisation sur un thème de R.Galliano "Fou Rire" / Radu e Violeta Zaplitnii / www.zaplitnii.com / Grazie a Matteo Marchetti e a Ismael Gonzalez per la stretta collaborazione.
05:27
Gioachino Rossini - L'italiana in Algeri - "Pappataci!" (Ruggero Raimondi, Frank Lopardo & Enzo Dara)
Out of all the ensembles from "L'italiana", the present would have to be one of my personal favorites. Surprisingly, many Rossini operas are home for an ensemble for bass, baritone and tenor: "Il turco", "La pietra", "Semiramide", "Guillaume Tell", as well as others, come to mind, making this possible situation a part of Rossini's idiom. Written in a very free structure, the present terzet follows Lindoro and Taddeo informing Mustafa of Isabella's plans to make him her pappataci. This, as Lindoro explains, is an Italian custom and a great honour, as the "pappataci" enjoy an idyllic life dedicated to eating, drinking and sleeping. The piece is multisectioned, with only the final concentrated section readily recognizable as a "stretta". The piece opens with several phrases, first excited and then confused, for Mustafa, before being taken over by Lindoro in a flowing cantabile. After several other explanations from Taddeo and a descending coloratura flourish for Mustafa, Lindoro's cantabile is repeated as a concentrato with the basses bubbling their way below the tenor's elegant line. The final "stretta" can be called so only relatively: it features two opening solos, following the same musical language, for Mustafa and Lindoro, before settling in a delightful ensemble with Lindoro and Mustafa trading coloratura over Taddeo's patter. The finish is brilliant: the men, tired from all their excitement, slowly paces themselves, with the music going more and more faint, before they suddenly return for a fast coda. Enjoy :)!
09:03
Gioachino Rossini - Guglielmo Tell (Guillaume Tell) - "Arresta! Quali sguardi" (Sherrill Milnes & Luciano Pavarotti)
We pass onto to the opera itself. Our first piece is a duet between the title hero of the opera and Arnoldo. Narratively, it follows Tell as he notices that Arnoldo is trying to sneak away from the festivities of the Shepherd Festival, in hopes of seeing Matilde, his beloved, but a member of the Austrian aristocracy, Gessler's niece, in fact. Tell clearly sees that something is tearing his young compatriot apart and tries to make Arnoldo open op to him. Their discussion is cut short by the sound of horns of Gessler's followers who are approaching the village. Arnoldo, growing ever more agitated, truly accepts Tell's call to arms but the final stretta finds him still unsure of what to choose: his love or his homeland. Remember the classical Rossinian succession of "moderato - andante - allegro"? Well, forget it for now, as the present duet is something completely different. What would a traditional treatment of the scene be? Well, it's obvious that there would be two opening statements for the heros, some dialogue leading to a melting andante as Arnoldo torments himself over his duty and Tell continues to be baffled, another dialogue would lead into a call-to-arms stretta as both appraise the glory of their homeland. But here we get something refreshing: instead of using the above-mentioned possibility, Rossini crafts a true dialogue between the protagonists, the main part of the duet is set to an agitated string accompaniment that almost become a ground bass as its' figures are repeated several times. Thus, we get a true meeting of two people, one obviously trying to get away from his compatriot, the other imploring him to explain the source of his unhappiness. The first part of the duet, before the sound of horns further destroys Arnoldo's peace of mind, has only two concentrated passages: a repeated moderato section as Arnoldo asks himself what he should do. The section is then raised up, providing Arnoldo with opportunities to show off his high notes and raising the stakes of the drama. The "stretta" is actua
03:31
Saverio Mercadante - Elena da Feltre (1838) - Act One Finale for Elena, Ubaldo & Sigifredo (Arioso & Stretta) - "Figlia, addio... per sempre addio" (Monica Colonna, Cesare Catani & Stefano Rinaldi-Milliani)
"Elena da Feltre" premiered in 1839, the same year as Verdi's first opera, "Oberto". It was commissioned for Naples by the great impresario, Barbaja, following Donizetti's withdrawal over the "Poliuto" censorship problems. Its' flexible treatment of standard operatic forms places the composer midway between the Neapolitan operas of Rossini and the increasing adventurousness of Verdi: in fact, the opera appears midway between "Ermione" (1819) and "Il ballo" (1859), making an interesting case between the old and the new school of Italian opera, already forming in Mercadante's lifetime. No. 3. Act One Finale. This upload may seem rather small for a proper finale but it remains an interesting fact that Mercadante does not actually turn the end of the first act into a classical finale (which is very much the case of the second finale), a decision which only heightens the effectiveness of the scene. Sigifredo, Elena's father, has managed to escape his capture and returned to his daughter, just as she is being approached by Ubaldo who thinks of kidnapping her from Guido. Sigifredo reveals himself, only to be captured once again. He addresses his daughter in a loving arioso that seems to be developing into one of those classical suspensions over time but the entrance of Elena, who cannot bear the though of losing her father yet again, introduces a more frenzied melody, more akin to a stretta (though this final section is not exactly a stretta) and completely logical in the situation, as Sigifredo is dragged off the stage by Ubaldo's men. Monica Colonna - Elena, Cesare Catani - Ubaldo, Stefano Rinaldi-Milliani - Sigifredo. Hope you'll enjoy :).
L'Italia che sta un po' stretta Parole e musica by Massimo Presciutti (repertorio siae 932870400 del 14.10.93) La citazione di Le Voyage dans la Lune di Georges Melies è di Teresa Sánchez Vivancos made in Florence 1989 - 1990 Caricatura di Roberto Battestini - Porto San Giorgio 1992 - Vedi Il mondo con gli occhi del Sud, 12 rassegna umoristica, Studio d'Arte Andromeda, Trento 1991 http://www.trentinocultura.net/radici/identita/vita_quotidiana/multiculturale/vocabolario_diversita_h.asp Con queste mani piene di calli piene di montagne che hanno accarezzato il mare piene di applausi di frizioni di freni all'alt della polizia e l'italia è uno stivale giusto per le gambe di una mia cugina Occhiali scuri che fanno fretta che fanno festa si taglia il vento con la testa ed i paesi delle marche che sulle colline del pomeriggio e l'italia che sta un po' stretta accavallata sulla lambretta E da lontano dul fiume arrivano i colori capelli suoni e batticuori la gioventù sta dentro gli occhi nei movimenti nei sentimenti una chitarra elettrica fa ballare ascoltare e scegliere il mestiere La nostalgia quando non scorre nelle vene sembrano niente le catene io la coltivo qui dietro casa tra i pomodori e l'insalata dove scavando con le mani cerco l'italia di domani
FIRENZE, 8 ottobre - Una notte di emozioni e di solidarietà per sconfiggere un male insidioso che mette paura. Firenze si è raccolta intorno a Stefano Borgonovo per combattere insieme contro la Sla, la sclerosi laterale amiotrofica. Si è stretta all' ex campione, a quel ragazzo che faceva gol ispirato da Baggio in quella magica B2 di fine anni Ottanta. Uan serata di speranza. Che questa partita tra Fiorentina e Milan di ieri e di oggi possa segnare l'inizio di una battaglia vincente alla Sla, che fa paura ai calciatori e ne uccide alcuni. Fiorentina e Milan, insieme per la Fondazione Borgonovo, per raccogliere i fondi necessari a far crescere la ricerca contro questa malattia che toglie parola e muscoli, che fa vivere attaccati ad una macchina, che circoscrive il mondo ad un letto o a una sedia a rotella. Questa è la vita di Stefano Borgonovo, che segnava in viola e in rossonero, che giocava con Baggio e con Gullit. Ora la sua partita è stimolare la ricerca con la fondazione che porta il suo nome. E allora ecco "Tutti per Stefano Borgonovo", una partita che è un evento, non una sfida, ma una festa.
04:02
Giacomo Meyerbeer - Il crociato in Egitto - "Ah! questo e l'ultimo" - No. 2. Stretta
It is sometimes said that any good opera must have a drinking song and a prayer. Where as Meyerbeer's grand opera, "Il crociato" has no example of the former, it actually has not one, but three full prayers: I've already posted the piece that appears in Adriano's superb scena; the second one comes in the form of a short cavatina for Armando, near the ending of the opera; and the last one forms the cantabile of a lengthy quartet/sextet from Act Two. Here is the main cast: Ian Platt - Aladino, Bruce Ford - Adriano di Monfort, Diana Montague - Armando d'Orville, Yvonne Kenny - Palmide, Della Jones - Felicia, Ugo Benelli - Osmino. The final stretta could probably be called vintage Meyerbeer, building up excitement with each passing moment. Starting up with three separate verses for Palmide, Armando and Adriano, changed to suit the particular merits of each singer. The tempo di mezzo is formed with a repeat of the chorus already sung in the previous section. The repeat of the "cabaletta" is formed by a combination of the lines of all six protagonists finished with a long coda filled with coloratura leaps for all women and, finally, leading to a tremendous vocal explosing to leave the audience at the tip of their seats. Hope you'll enjoy :)!
08:07
Giaochino Rossini (arr. Antonio Pacini & Louis Niedermeyer) - Robert Bruce, Ivanhoe & Armida - "Viens, barbare", "Volez a ma defence" & "Per me propizio fato"
As a curiosity, I uploaded the original version of the stretta intended for the quartet from "Armida" but was also used, to my knowledge, in three other works attributed to Rossini: the already presented quartet from the cantata for Pius IX and two pastiches, "Ivanhoe" (1826) and "Robert Bruce" (1846), whose existence is due, respectively, to Antonio Pacini, Rossini's French publicist, and the composer, Louis Niedermeyer who have answered the desire of the French audience for Rossini, despite the composer's self-appointed retirement. Basically, the works are formed out of Rossini's earlier works: the former - "La Cenerentola", "La gazza ladra", "Semiramide", "Mose in Egitto", "Armida", "Maometto II"; the latter - "Zelmira", "La donna del lago", "Bianca e Falliero" and "Armida". Both are based upon English literary and historical opuses: "Ivanhoe" by Walter Scott and the story of Robert I of Scotland - and both are rather... uneven, to say the least. Their dramatic credibility, though, is completely beside the point, their merits lie in the interesting process of matching the pieces and their respective origins. The first version is that from "Robert Bruce" where the stretta is used to end a lengthy sextet (the andante of which is formed from the quartet from "Bianca e Falliero") which comes just before the end of the opera and which pits the lovers of the opera, Marie and Arturo against Eduardo II, the King of England, who seems to love Marie. The interesting thing is that only the main verses of the stretta themselves are used, while the tempo di mezzo and the coda are formed from the quartet of "Bianca" (a rather unsettling decision and one that does not work as well as it could have). Here is the cast involved in the piece: Iano Tamar - Marie (soprano), Inga Balabanova - Nelly (soprano), Davide Cicchetti - Edouard II (tenor), Simon Edwards - Arthur (tenor), Ramaz Chikviladze - Morton (bass), Piero Naviglio - Dickson (bass). P.S. If such a need will arise, I'd be happy to upload the andante which works quite w
09:09
Gioachino Rossini - Guglielmo Tell (Guillaume Tell) - "Silenzio!" (Sherrill Milnes, Nicolai Ghiaurov & Luciano Pavarotti) - No. 1. Three choruses of Swiss clans
The second finale to Rossini's "Tell" is home to one of Rossini justly renown passages, connecting three full contrasting choruses of revolutionary missions from all cantons of Switzerland: a warlike chant of the farmers from Underwald; the gentle but still unsure song of the shepherds from Schwitz, slowly making their way through the forest; and, finally, the fishermen from Uri, moving their boats through the waters of the lake, before descending into a frenetic, nervous song of both fear and wonder. Finally, after a long and passionate speech from Tell himself (which I regretfully had to cut), a brilliant stretta, slowly growing in excitement up to the final "all'armi". Enjoy :)!
26:16
Intra Theater Airlift Conference Florence Pisa 12 /13 October
Il 12 e 13 Ottobre presso l'Istituto di Scienze Militari Aeronautiche di Firenze e la Base Aerea di Pisa, ha avuto luogo il Workshop internazionale sulla tematica “ Le Prospettive del Trasporto Aereo in teatro operativo “, promosso dall’Aeronautica Militare, in stretta collaborazione con Alenia Aeronautica. L’incontro finalizzato al dibattito sull’impiego dei modernissimi velivoli da trasporto militare, verte principalmente sull’analisi della loro interoperabilità e la capacità di integrare le diverse capacità, al fine di garantire la missione di trasporto, quale strumento essenziale ed efficace nel supporto alle unità impegnate in prima linea.
Regia di Andrea Biagioni - Animazione: Andrea Biagioni e Marco Biagioni - Musica ed effetti sonori: Tomaso Azara - Montaggio e post produzione: Marco Bersani --- Perdita di identitÃÂà, il racconto del caos attraverso cui si scorge offuscata l'individuazione di una persona colta in tutta la sua irripetibilitÃÂà, ossia nella irripetibile e fragile esistenza che ciascuno di noi ha. Le azioni che caratterizzano l'identitÃÂàdi ognuno di noi divengono apparentemente senza senso. I segni che raccontano di noi sono sfocati e poco dettagliati nella memoria. Affiorano particolari di oggetti e ricordi quasi senza connessione gli uni con gli altri, il suono ÃÂè confuso e sottile, vuoto ed "assente". L'identitÃÂàdi ciascuno non ÃÂè prevedibile, nÃÂé si progetta, ma ÃÂè fatta dagli eventi e le scelte fatte nel corso della vita di ognuno, cosÃÂì come viene recepita fuori di noi. L'identitÃÂàÃÂàÃÂè letteralmente "ciÃÂò che ci si lascia dietro". In questo continuo confronto relazionale riusciamo tutti noi a trovare riflessa la nostra immagine. Questo determina l'unicitÃÂàÃÂàdell'identitÃÂàÃÂàdi ciascuno e la stretta connessione con i cosiddetti "altri".
08:56
Saverio Mercadante - Il Bravo, ossia La veneziana (1839) - Act Two Finale (Concetrato & Stretta) - "Ravissa tua madre" (Dino di Domenico, Adelisa Tabiadon, Janet Perry, Stefano Antonucci & Leonardo de Lisi)
Mercadante composed "Il bravo" between 1838 and 1839, not without difficulty, as he had problems with finding a reliable librettist, going through Bindocci, soon replaced with Gaetano Rossi and later on with Marcelliano who, on the composer's demand, was supervised by Felice Romani. The work was written for Domenico Donzelli (nearing the end of an illustrious career) and premiered with an excellent cast (headed by Schoberlechner, the first Elaisa). The success of the opening night at la Scala on the 9th of March, 1839, was complete. No. 9. Act Two Finale. As I mentioned earlier, it is the second finale that holds the most important moments of the plot, in particular, the discovery that Teodora is, in fact, Violetta's mother which proves as a real shock. The finale is set in Teodora's palazzo where a large feast is being held, though the hostess herself is feeling a strange melancholy. Suddenly, a mysterious veiled woman, accompanied by Carlo, appears and is revealed to be Violetta and Teodora's long lost daughter by the real Il Bravo, and this is the moment where we enter the action. The understandable surprise of all those present overflows into a classical but enchanting ensemble, beginning with Violetta quietly relating her confusion, finding an answer in the hushed answers of the other soloists. We then pass onto a more traditional concentrato, contrasted with the gentle melody of the harp, appearing out of thin air in a lovely contrast with the dramatical ensemble, which, though, relates the action with perfection. The return to reality is painful for Teodora, as her guests, lead by Foscari, continually downplay the importance of the previous event, actually mocking the poor woman whose shame at being presented as a courtesan to her own daughter has no limit. Her answer comes in a form of an intense arioso which culminates in Teodora, overwhelmed by the happenings setting fire to the palazzo which, though dramatically very odd, naturally leads to a frenzied stretta, as all flee the pire. Dino di Domenico -
http://youtube-impeto.blogspot.com/ Watch it in HD: http://www.youtube.com/watch?v=jkHCnpBZfzg&fmt=22 Questa è la prima musica Italiana che suono al pianoforte, spero vi piaccia e se ti va iscriverti al mio canale ^_^ This is my first Italy song on piano, I hope you like it, remeber to subscribe ^_^ if you want join in my group: http://www.youtube.com/group/impeto Claudio Baglioni - Questo Piccolo Grande Amore lyrics: quella sua maglietta fina tanto stretta al punto che mi immaginavo tutto e quell'aria da bambina che non glielo detto mai ma io ci andavo matto e chiare sere d'estate il mare i giochi e le fate e la paura e la voglia di essere nudi un bacio a labbra salate il fuoco quattro risate e far l'amore giù al faro... ti amo davvero ti amo lo giuro...ti amo ti amo davvero! e lei lei mi guardava con sospetto poi mi sorrideva e mi teneva stretto stretto ed io io non ho mai capito niente visto che ora mai non me lo levo dalla mente che lei lei era un piccolo grande amore solo un piccolo grande amore niente più di questo niente più! mi manca da morire quel suo piccolo grande amore adesso che saprei cosa dire adesso che saprei cosa fare adesso che voglio un piccolo grande amore quella camminata strana pure in mezzo a chissacchè l'avrei riconosciuta mi diceva "sei una frana" ma io questa cosa qui mica l'ho mai creduta e lunghe corse affannate incontro a stelle cadute e mani sempre più ansiose di cose proibite e le canzoni stonate urlate al cielo lassù "chi arriva prima a quel muro..." non sono sicuro se ti amo davvero non sono...non sono sicuro... e lei tutto ad un tratto non parlava ma le si leggeva chiaro in faccia che soffriva ed io io non lo so quant'è che ha pianto solamente adesso me ne sto rendendo conto che lei lei era un piccolo grande amore solo un piccolo grande amore niente più di questo niente più mi manca da morire quel suo piccolo grande amore adesso che saprei cosa dire adesso che che saprei cosa fare adesso che voglio un piccolo grande amore...
08:57
Vincenzo Bellini - I Capuletti ed i Montecchi - "Ah! crudel, d'onor ragio" (Jennifer Larmore & Hei-Kyung Hong)
In accordance with my recent upload of Giulietta's lovely romanza from Bellini's treatment (some would say the librettist's mistreatment) of Shakespeare's timeless tale of the lovers from Verona, I decided to also upload the lovers' big duet presented here (as well as Romeo's cavatina). We begin with the central andante (to save time, I had to cut the opening statements of the lovers, as well as the tempo di mezzo, though the main structure is preserved) with each lover separately stating their conflicting feelings in a ravishing cantabile. After a short transition, involving a cadenza for Giulietta and several anguishing phrases for Romeo, the emotional weight is lifted even further with the connection of their lines into a strikingly romantic expression of young love. Though the andante is certainly a perfectly lovely section, I have to admit my special penchant for the stretta that follows it, unusually intense, contrasting the lovers' long, elaborate lines with the slightly martial accompaniment (possibly to further highlight the forced departure of Romeo) leading to one of the best codas to a love duet imaginable. I've decided to upload two contrasting versions: one, the "correct" one, with Romeo sung by a woman, here the very impressive Jennifer Larmore joined, again, by Hei-Kyung Hong's gentle Giulietta; another, the "wrong" one, as performed in the 1960s under a young Claudio Abbado's direction, with Giulietta cast as usual, with a lyric soprano, Margherita Rinaldi, but with a "blasphemy" committed with the use of a tenor, the superb Giacomo Aragall (though the latter's excellence somewhat helps the listener to almost forget the error committed). Hope you'll enjoy :)!
09:24
Gioachino Rossini - La Cenerentola - "Zitto, zitto" - No. 1. First half of the Finale
The finale of La Cenerentola is fully representative of Rossinis art and truly worthy of, for example, the lively finale from Il Barbiere di Siviglia. In this upload, Ive decided to post it without the preceding aria for Don Magnifico, as the latter is a separate piece. Here is the cast: Joyce DiDonato - Angelina (Cenerentola), Patrizia Cigna - Clorinda, Martina Borst - Tisbe, Jose Manuel Zapata - Don Ramiro, Paolo Bordogna - Dandini, Bruno Pratico - Don Magnifico, Luca Pisaroni - Alindoro. The piece, as it is with many of Rossini's finales, is multi-sectioned, moving steadily from the simplest forms to the vigorous stretta. It opens with an allegro duettino of enchanting vigour, as the prince asks his servant what he has learned of the stepsisters, predictably, Dandini has nothing good to say about them. While Ramiro continues to be baffled as to who his master Alindoro meant for him to marry, both men decide to continue their investigation in a wonderfully tongue-in-cheek coda. The sisters in question then come running in, trying to find the "prince". Unusually, the music used is mostly repeated but with a more pointed tempo. Dandini hurriedly affirms to Clorinda and Tisbe his wish to marry one of them but making special note that he can only marry one of them. Their query as to what will happen to the other one is answered simply: the other one will marry the valet. This revelation causes the sisters to shower Ramiro with insults, despite his attempts to placate them. The section is rounded up in the same coda, as the sisters try to keep standing in spite of these news, while the men comment on how original is the situation. Their fun is cut short by horns from the outside, marking the appearance of a new guest. The confusion is presented in a series of short phrases, first set to a flowing string line and then given in a more march-like line, as the group questions Alindoro about the identity of the new guest, though the latter remains steadfast in his silence. A joyful chorus sets up Angelina's entrance, pr
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