Вивальди "La dolce auretta"

[Pomidorka]

Ищу ноты арии "La dolce auretta" из "Serenata a tre" Вивальди. Может быть, подскажете, под каким названием по-русски она известна? Спасибо

[Pomidorka]

Снова с надеждой повторяю свой вопрос...

[femmina]

Ищу ноты арии "La dolce auretta" из "Serenata a tre" Вивальди. Может быть, подскажете, под каким названием по-русски она известна? Спасибо

Возможно, что «Нежный, легкий ветерок». Dolce - переводится как - сладкий, нежный, мягкий.

[Pomidorka]

Нашла больше информации: это сочинение RV 690, известно под названием Mio cor, povero cor, известна также под названием "Serenata a tre", как называлась постановка 1984 года, или "Эурилла и Альчиндо" по постановке 1980. Состоит из двух частей. Если я правильно поняла, одна часть называется "Нимфа и пастух". Вот здесь http://www.youtube.com/watch?v=ywrMjjE8zFs звучат кое-какие отрывки. Кусочки из арии, которая меня интересует, звучат в тот момент, когда на сцене дядьки в галстуках с обручами шарахаются.
Оригинальная постановочка, нечего сказать
La dolce auretta -это ария Эуриллы.
По-прежнему не знаю, где найти ноты. Даже в каталогах магазинов не нашла.

[femmina]

Нашла больше информации: это сочинение RV 690, известно под названием Mio cor, povero cor, известна также под названием "Serenata a tre", как называлась постановка 1984 года, или "Эурилла и Альчиндо" по постановке 1980. ...
La dolce auretta -это ария Эуриллы.
По-прежнему не знаю, где найти ноты. Даже в каталогах магазинов не нашла.

Купить и послушать:

Vivaldi : Serenata a Tre : Part 2 "La dolce auretta" [Eurilla ...
http://www.google.lv/search?hl=ru&so...l=&oq=&gs_rfai=


Radio Me la Sudas: Vivaldi - Serenata a Tre - "La Ninfa e il ...
http://radiomelasudas-beaumarchais.b...infa-e-il.html

Vivaldi : Serenata a Tre : Part 2 "La dolce auretta" [Eurilla] aus ...
http://www.musicload.ch/claudio-scim...ngle/1528980_4


Просто информация oб этой опере :http://www.lib.umd.edu/drum/bitstrea...20Jennifer.pdf

Program Notes
Eurilla e Alcindo (Mio cor, povero cor), Serenata a TrC,

R.V.

690

Music by Antonio Vivaldi
Antonio Vivaldi (b. Venice 1678, d. Vienna 1741) studied to be a priest since
childhood, though his vocation as a priest was more a choice of his family than his own.
Music was his passion, and he showed obvious signs of genius as a violinist at a young
age. Known as the 'Red Priest' because he posessed red hair, he was ordained in 1703;
however, he managed to avoid performing his duties as a priest, claiming to have a
serious illness that had been with him since childhood. He therefore was able to devote
his entire life to his music. He had bronchial asthma, but his letters suggest that he

was

prone to exaggeration and lying, so it is doubtful that someone who managed to perform
and teach violin, travel for his music, and compose with such fury, could not, because of
ill-health, get through saying an entire Mass.
Since Vivaldi spent most of his years living and composing in Venice, the musical
life of this city is important to understand. Abbd Conti said of Venice at the time: "The
only talk here is about the operas that are to be performed."' Florence established itself
as the birthplace of opera in 1600, but Venice became the birthplace of the first public
opera theatres in 1637, making Venice the "city of operapr

e~cellence"d~u ring the 17 th
century. Opera was now public domain, open to everyone, mingling all social classes
together, as Venice also did in its celebrations and its Carnival. Opera had previously
been the property of the elite.

1

Patrick Barbier, VivaldiS Venice - Music and celebration in the baroque era. Trans. Margaret Crosland.
(London: Souvenir Press, 2003), 108.
Barbier, 108.

By the time Vivaldi premiered his first opera, at the age of 35, he had already gained
tremendous recognition for his talent as a violinist and as a composer of instrumental
music. Vivaldi was drawn to the business of writing opera principally because opera
reigned supreme in Venice. He wanted more fame; opera, he thought, was the way to
achieve it.
Alongside opera, stood the serenata. The serenata first appeared in Italy and
Vienna (at the time, an Italian literary colony) around 1660, and virtually disappeared by
the early 19'~ce ntury with the rise of romanticism. It is a genre which falls somewhere
between the opera and the cantata (J.S. Bach entitled two of his cantatas 'serenata'). Like
opera, serenatas featured elaborate costumes and sets, but like the cantata, was normally
unstaged, the singers reading from their parts. Serenatas often did not have an
identifiable plot, which were mostly based on mythological and allegorical subjects. They
usually had a strong moral emphasis.
Serenatas were most often commissioned for private events. Venice was the
capital of an independent Republic and therefore had no court. Embassies and
'residencies' of the principal States of Europe were scattered throughout the city, most
importantly those of the Austrian emperor, and the kings of France, Spain and England.
These monarchies and States were always conscious of their image, trying to impress
Venice with the pomp of lavish celebrations which would mark major events in their
countries (a military victory, a noble birth, a wedding, a birthday, etc.) Music was a vital
part of all celebrations in Venice, so these nobles and ambassadors would commonly
commission serenatas from Vivaldi and other Venetian composers for these luxurious

displays. During Vivaldi's time, the French Embassy, in particular, had a reputation for
frequent, extravagant celebrations.
The musical structure of the serenata was similar to opera at the time: Da capo
arias alternating with recitative, with a rare duet or ensemble. In comparison to the huge
spectacle of opera, the serenata was smaller in scale: Shorter in length and requiring a
smaller number of singers, usually three or four, and a small string orchestra. At times,
wind instruments and chorus were also used, though most movements marked as 'coro'
are meant simply for the principal singers to sing

as an ensemble.
The Venetian opera audience grew to expect inventive and spectacular stage
machinery; thrills and spectacle were required. Naturally, given the audience expectation
in Venice, serenatas were also expected to feature ingenious, elaborate set design and
stage machinery. Serenatas, most often performed outdoors, at night, under artificial
light, frequently used water as a backdrop for the performances, as the canals and the
general overwhelming presence of water in Venice presented this opportunity. This could
be the reason that water is often an important theme in these pieces. For Vivaldi's
serenata, L 'Unione della Pace e di Morte, composed for the birth of the King of France's
twin daughters, an impressive stage was constructed on the water:

. .

.all outside walls of the Palace were illuminated, as well as a kind of
amphitheatre or platform set up on the lagoon on large boats. This
construction was sixty feet high and fifty feet wide, representing the Palace of
the Sun as described by Ovid. In the middle of this palace, standing on twelve
Corinthian columns, was a statue of Apollo with his lyre, and surmounting
everything were the arms of France. The edifice was completed by a brilliant
image of the sun on top of a pyramid. One could also see the signs of the
Zodiac, with that of the Twins in the middle of them.3

3

Barbier, 172.

Although serenatas were usually written for private events such as the one
described above, invited guests watched from the French Embassy gardens, while
uninvited guests (the Venetian public) floated on the water in boats in order to watch; in
essence creating a public event.
Serenatas were composed for bonafide public events as well. The Venetians came
to favor the serenata over the full-length opera for the last night of Carnival, leaving more
time for celebration afterwards. Besides Carnival, Venetians would also hold public
serenatas for events such as the arrival of an important visitor or the marriage uniting two
important families.

Eurilla e Alcindo

was composed c. 1719. Vivaldi left Venice in 171 8 to serve as
maestro di cappella da camera to the governor of Mantua until 1720, so he logically may
have composed the work in Mantua, although this is unknown. Half of his serenatas were
premiered in his native city of Venice.
According to Grove Music Online, of the 8 serenatas attributed to Vivaldi, only 3
of the scores survive, 2 in facsimile only. Vivaldi claimed to have written 94 operas, but
only about 50 can be attributed to him, and only 23 scores exist today. Vivaldi certainly
composed successful operas, serenatas, and sacred music, but the fame of his vocal
composition pales in comparison to that of his instrumental music, particularly his
concertos, which were published, sold and performed across Europe.

About this production:

Despite the fact that serenatas were unstaged presentations, we have decided to
memorize and stage

Eurilla e Alcindo. Unlike many serenatas, this one has an identifiable
plot: The nymph Eurilla attempts to win the love of the prideful shepherd, Alcindo.
There is certainly a moral to this story, as pride, stubbornness and harshness are
condemned in the end. The occasion for which Vivaldi wrote Eurilla e Alcindo is
uncertain, though the purpose was supposedly to commemorate the imprisonment of a
certain religious leader whose sect refused to bow to papal authority. The shepherd,
Alcindo's stubbornness and refusal to love the nymph Eurilla, possibly symbolizes this
sect's refusal to ~ubmit.~

Eurilla e Alcindo

is originally scored for 3 voices, strings, oboes and hunting
horns. For this production, Joseph Gascho, music director, decided to arrange the piece
for 2 violins and continuo.

- Jennifer Royal1

http://www.google.lv/search?hl=ru&so...l=&oq=&gs_rfai=

Имеется еще видео 2-х арий из этой оперы на youtube.com