Ciao sono una ragazza di 13 anni mi piace tanto quest' opera Oggi sono andata a teatro a vedere l opera dal vivo con a scuola È un esperienza da vivere davvero molto bella appena a scola ne abbiamo parlato ho voluto subito approfondire e ho trovato questo È sempliceme FANTASTICA 🤩🤩🤩🤩
È Semplicemente stupendo! La mia opera cantata preferita, e pensare che ha più di 300 anni! È incredibile quanto una storia scritta così tanto tempo fa sia ancora così bella😁
Furio.... mamma mia che voce!!! Una voce chiara e limpida da baritono, morbida.... e poi nel registro medio grave e in quello grave imbrunisce naturalmente... con dei gravi degni di un basso. Bellissimo timbro, fantastico!!!!! =)
This opera hit the Paris of Rameau like a thunderbolt, touching off a debate that lasted for decades. (1) It was short. (2) it was genuinely funny. (3) and most important, all the characters were ordinary people. No Greek or Roman gods, no legendary heroes, etc.
Sapevamo tutti che La Serva Padrona era un capolavoro. Con Fasolis e gli altri protagonisti di questa meravigliosa rappresentazione abbiamo capito perché!
I met Sonya Yoncheva, many years ago, thank this performance. I fell in loving with her voice and I and I knew she was destined to be a great star. So it was
13:00 Beautiful Sonya Yoncheva sings with the most alluring expressions. Lovely acting! She’s such doll! ❤️💔🎶💔 At 22:13 I’m hooked…Poor Uberto’s a bit slow, because I think I’d take less convincing to do what she says! lol 26:39 Serpina’s expression is priceless, as she works her delightful feminine charms’ 38:54 At last! 39:10 Such darling theatrics and 39:20 wily expressions! 39:43 delightful Baroque passage Furio Zamasi an excellent Umberto. Love the closing duet! Don’t you think the two extras were more of a distraction? Just a thought.
il Fasolone è il migliore!! io e la mia lasse abbiamo anche creato una fan page in suo onore su facebook dopo aver visto questo suo stupendo lavoro. complimenti al nostro grande direttore!!!
The woman who plays the violin on the back ground has a a low-cut evening dress in this shot 39:45 but then at 39:56 she is wearing a a dress with long sleeves. How is it possible? I thought this was a live performance on theatre!
bravo ragazzi. voci fantastiche! fasolis e sonya yoncheva on top. danke an rsi: für solche produktionen bezahle ich gerne den billag-obulus nach lugano
Io sono bella, graziosa, spiritosa. When it comes the relations between men and women, it is somehow gratifying to know that they knew everything there was to know around 1730. Nothing has been added since then. Leo Depuydt
What is the title of the opera? Who is the composer? What is the style of the opera(opera seria/opera buffa)?why? What is the opera all about? (give a short storyline)
One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V to my UA-cam posting. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections. ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC: AN ESSAY (PART IIIb) _by_ Leo Depuydt _To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_ (_Continuation from Part IIIa_.) APPENDIX: SUPPORTING MATERIALS APPENDIX, SECTION Ib: Historical Notes on the Appreciation of Pergolesi’s Music (_continued_) This much about Pergolesi’s style. But what about his reputation? I select often cited testimonies by the great philosopher J.-J. Rousseau (1712-1778), the great mathematician and student of the physics of music, J. Le Rond D’Alembert (1717-1783), the great contemporary French composer J.-Ph. Rameau (1683-1764), and-who else-the eternal J. S. Bach (1685-1750) himself, none of them Italians by the way. There have been detractors, a number of Germans and some English, some bitter. Perhaps, at some point, someone will be able to find out what to make of it all. But before adducing the testimonies in question, a unique property of G. B. Pergolesi’s legacy may be pointed out. It appears that, of the compositions that have been attributed to him at one point or another, perhaps 80% or 90% are not by him. There is nothing anywhere close to it in the history of music. As regards the testimonies anticipated above, J.-J. Rousseau-who himself composed respectable music-called G. B. Pergolesi “inimitable (_inimitable_)” [9]. All culminates, evidently, in G. B. Pergolesi’s _Stabat mater_, composed just before his death. The analogy has very often been made with W. A. Mozart’s (1756-1791) _Requiem_, which he composed on his deathbed. Did J.-J. Rousseau exaggerate when he called the opening duet of G. B. Pergolesi’s _Stabat mater_ “the most perfect and the most touching that has ever come from the pen of any musician”? [10] According to J. Le Rond D’Alembert, G. B. Pergolesi was the “Rafael of Italian music” [11]. There was much discussion in the eighteenth century as to whether either French or Italian opera music was superior. In that regard, A. E. M. Grétry reports that J.-Ph. Rameau, this paragon of French music in the eighteenth century and the successor to the Italian-born French composer J.-B. Lully (1632-1687), confided to his friend the Reverend Arnaud when he was about 60 years old, that, if he were 30 years younger, he would travel to Italy and compose in the style of G. B. Pergolesi [12]. But he felt that he was too old for change. What about that for a confession? And then there is J. S. Bach. To my knowledge, the only work that he copied and adapted from another composer in full orchestration, and not just in a conversion for keyboard, is G. B. Pergolesi’s _Stabat mater_. A fitting tribute indeed. J. S. Bach schoolishly completes harmonies, adding the fourth note. But it is a matter of taste whether the result is an improvement. G. B. Pergolesi has been adduced above as 1) a metaphor for style, and then 2) for rediscovery, and then also 3) for excellence. But there is more. He also stands for the dawning of a new age and the arrival of modernity. The focus is on Naples, once the second(?) largest city of Europe and the world, a city still known for its vibrant music scene, as evidenced in a recent motion picture by the actor and director J. Turturro. Thousands and thousands (if not hundreds of thousands) of music manuscripts rest in the libraries of Naples and of several European capitals. It is a huge legacy that is only in recent decades is beginning to be rediscovered in earnest. The neglect is owed in great part to the fact that, since G. B. Pergolesi’s time, Naples and Italy’s Mezziogorno have known episodes of decline and neglect. There is much to be said for the notion that modern music came into its own in the early eighteenth century in Naples, finally completely moving away from the polyphony of the Renaissance, and G. B. Pergolesi was part of this new development. Polyphony has its masterworks. But to the modern ear, it has a certain otherworldly quality. The new Neapolitan style was known as the “sweet new style (_dolce stil nuovo_)”. G. B. Pergolesi surpassed all other composers in the practice of it. In contrast to some other composers, he for the most part avoids ostentation through the coloratura that is so well known from the vocal music of the baroque period. Indeed, a principal virtue of G. B. Pergolesi’s music is its simplicity-to the extent that many have been surprised how music that looks so simple on the page can sound so good when performed. The Neapolitan style was the beginning of a new era that stretches all the way to the present day. Music reached a new and final plateau and that is where it stayed. True, music later became more sophisticated in all kinds of ways pertaining to composition, performance, and instrumentation. But I do not believe that much of it clearly surpasses the Neapolitan style in beauty. What is more, music lost all its humor in the nineteenth century. Furthermore, protagonists do not at great length and spectacularly die in eighteenth century operas. That is a relief. The Neapolitan style still remains relatively less known in spite of the revival of recent decades. Accordingly, one comes upon statements here and there in various media by those who, when encountering it accidentally, are a little perplexed as to how they missed it. One limitation of the style in question is that its achievements are mostly in vocal music. Its contributions to instrumental music are limited. L(eonardo) Leo’s (1694-1744) six concertos for cello are an exception rather than the rule. This means that knowing Latin (for the sacred music) and Italian (for the secular music), sometimes the Neapolitan dialect of Italian for comedic operas (_opera buffa_), much increases the appreciation of the music in question, and especially of G. B. Pergolesi’s music. The language factor may form a bit of a barrier and prevent the music in question from breaking out from a certain niche. And evidently, to appreciate G. B Pergolesi’s sacred music, it is necessary to realize that it is very, very Catholic. In higher learning, it is always enlightening to know who influenced whom. By analogy, in the quest for an appreciation of G. B. Pergolesi’s style, it helps to listen to those that were close to him in place, time, and person, those three main coordinates of the human condition. Just two striking anecdotes. Ch. Burney transmits the following first anecdote. As a rebellious 14-year old who had just mastered the traditional fine points of composing, G. B. Pergolesi wanted his friends to take him home so “that he might indulge his own fancies, and write such Music as was most agreeable to his natural perceptions and feelings” and that “[t]he instant he quitted the conservatorio, he totally changed his style, and adopted the style of [L(eonardo)] Vinci [(1690-1730)] . . . and of [J. A.] Hasse [(1699-1783)]” [13]. L. Vinci, the first great master of the _dolce stil nuovo_, is to be distinguished from L. da Vinci (1452-1519), he of the Mona Lisa, who may have been distantly related I read somewhere. The anecdote explains something about G. B. Pergolesi’s unique originality. L. Vinci died in 1730, perhaps poisoned, just when G. B. Pergolesi began composing, and could not have been influenced by him. I refrain from detailing reports that J. A. Hasse, who composed prolifically both before and after G. B. Pergolesi’s short creative life (1730-1736), changed his style after becoming acquainted with G. B Pergolesi’s music. A special case is L(eonardo) Leo (1694-1744). He comes closest in style in many ways to G. B. Pergolesi. He ain’t G. B. Pergolesi. But still, his music constantly pleases and it exhibits many, many moments of exceptional beauty and simplicity combined. Music reached a pinnacle in early eighteenth century (early _settecento_) Naples. Has this pinnacle ever truly been surpassed? A second anecdote is as follows. G. B. Pergolesi admired his older contemporary L. Leo as a mentor. L. Leo may have been the first to truly master counterpoint, I read somewhere, but I leave that to musicologists. I see one more possible indication of a new age dawning. According to one account, G. B. Pergolesi invited L. Leo to a performance of his Mass in F, upon completion of which L. Leo warmly and openly embraced him and highly praised him [14] [15]. Once familiar with G. B. Pergolesi’s style, L. Leo began imitating it, like other older Neapolitan composers, sometimes copying him almost note by note [16]. L. Leo was once famous all over Europe. How many have heard of him nowadays? Still, there has been a little bit of a revival. (_Continued in Part IIIc._)
In questa interpretazione manca il duetto "Per te io ho nel core". E' presente solo il duetto della versione originale "Contento tu sarai". Bella interpretazione. Grazie
Il duetto "Per te io ho nel core" e' stato scritto nel 1735 da Pergolesi per l' opera Il Flaminio ed era usanza che durante tutto il 1700 venisse eseguito al posto di "Contento tu sarai" che siamo solitamente abituati ad ascoltare a conclusione di questo intermezzo buffo dell' opera Il prigionier superbo sempre su libretto del Federico.
Does anyone know the source of the postlude sung by the two servants? Ah, I have answered my own question! It is a variant version of the finale, also by Pergolesi, but much more in the mode. An interesting solution to give it to the servants, even though we have to put up with far too many of their antics in the show itself.
One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V to my UA-cam posting. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections. ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC: AN ESSAY (PART II) _by_ Leo Depuydt _To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_ (_Continuation of the main text in Part I._) First are the six features that set apart Pergolesi from his teacher Durante according to Pergolesi, as follows: 1) _L’allievo Pergolese_ [Correction!: Pergolesi always signed his name “Pergolesi”] _all’opposto era pieno di estro e vivacità;_ 2) _accoppiava insieme lo stilo forte ed armonioso ne’_ repieni _delle voci_ 3) _con un_ accompagnamento _instrumentale_ [sic]_, che sempre cantava;_ 4) _mosse naturali dei bassi per lo più_ camminanti _, che anch’essi cantavano;_ 5) _un passeggiar di tuoni semplice e regolare, ma sempre rintracciando nuovi sentieri;_ 6) _e quindi se qualche volta mostravasi lungo anzi che no, pure non attediava._ de Rosa’s description continues with features that first (_primo_) manifested themselves in Pergolesi’s music in his opinion, as follows: 7)_Egli si fu il primo, cui venne in pensiero vestire qualche_ Aria _di un accompagnamento_ instrumentale _diverso dalla_ cantilena _dell’attore,_ 8)_egli il primo che tra i due violini intrecciasse due motivi diversi;_ 9)_egli il primo che pose in campo il_ semitonare _cantando;_ 10)_in somma egli il primo che spogliasse la_ cantilena _delle_ ariette _dal difficile e secco dello Scarlatti, e cercasse, per quanto fosse possibile, adattarla alla passione, che destar dovevano le parole, onde coll’espressione del cantante si commovesse il cuore di chi ascoltava. Dotato dalla natura di un cuore sensibilissimo, non iscrisse un verso di musica, che non corrispondesse alle parole, che volle animar con forza e finezza, consultando sempre la natura, e la verità, …._ I classify the rest of this sentence as an eleventh characteristic: 11) _... senza far uso di quelle fragorose modulazioni, che simili alle fugitive meteore, abbagliano talvolta gl’ignoranti, ma che tosto svaniscono e nel nulla restan sepolte._ A more detailed discussion of this unparalleled characterization of Pergolesi’s music is desirable. The need is for illustrating each with concrete musical examples. The examples are very much present to me. But I do not know exactly as to how to present it. The fact remains that there is nothing like Pergolesi’s music anywhere. Meanwhile, here is a provisional English translation of de Rosa’s epochal text (now completely forgotten, I again note): “(1) His (Durante’s) student Pergolesi was, by contrast, full of whim (¬_estro_) and vivacity, (2) which he combined with his (Durante’s own) strong and harmonious style of voices singing all together [that is, in _¬tutti_], (3) and also with instrumental accompaniments that always sing, (4) as well as with natural movements by the basses that almost always march on while also singing, (5) and moreover with a progression of notes that is simple and regular while always tracing new paths. (6) And so when he (Pergolesi) sometimes expressed himself at greater length (‘rather longer than shorter’), he never caused boredom”. (On to the features that the Marquese believed Pergolesi to be the first to exhibit in the history of music.) “He was (1) the first who came up with the idea of adorning an aria with an instrumental accompaniment that differed from the melody of the actor, (2) the first who made the two violin parts intertwine two different motives, (3) the first to put into the field the singing halftone, (4) in sum the first who stripped the sing-song of the arias from the difficult and dry properties of Scarlatti’s arias and sought as much as possible to adapt it to the passion that the words are designed to excite so that the heart of the listener moved along with the expression of the singer. Gifted with the nature of a most sensible heart, he never wrote a verse of music that did not correspond to the words, which he wished to animate with strength and finesse, always consulting with nature and truth,” (and classifying the following property separately) “without using the deafening modulations that, like fleeting meteors, at times dazzle the ignoramuses but before long vanish and remain buried in nothingness”. I hope to discuss these characteristics in detail at a later time. I am not sure about how to convey musical examples.
"serva padrona" 2.Giovan Battista Pergolesi 3.Opera buffa, it's an intermezzo 4. Serpina wants to marry Uberto so Vespone (the mute) pretend to marry Serpina, so Uberto ask Serpina to marry him not Vespone
"Another Mozart" seems a bit of an exaggeration to me. By 26, Mozart was already composing things like Idomeneo and the "Gran Partita" serenade. There's no doubt that Pergolesi died too soon, though.
I would like to know, what does the name of this intermezzo mean in English? (apologies for not knowing; my folks have been living in the USA for some time now... my Italian is shabby, but perhaps not completely lost?)... does it mean, "the servant girl is the boss"? (I could Google it, but I think it's more accurate and it's more fun to learn things from real people who really speak Italian.)
Ciao sono una ragazza di 13 anni mi piace tanto quest' opera
Oggi sono andata a teatro a vedere l opera dal vivo con a scuola
È un esperienza da vivere davvero molto bella appena a scola ne abbiamo parlato ho voluto subito approfondire e ho trovato questo
È sempliceme FANTASTICA 🤩🤩🤩🤩
Complimenti vivissimi!
Se ti è piaciuta, ti suggerisco anche tutto il repertorio delle opere barocche di Handel, Vivaldi, Scarlatti, Porpora e altri contemporanei
È Semplicemente stupendo!
La mia opera cantata preferita, e pensare che ha più di 300 anni! È incredibile quanto una storia scritta così tanto tempo fa sia ancora così bella😁
Mai vista una rappresentazione così egregia e raffinata de la Serva Padrone, esalta alla grande le magiche note di Pergolesi
Felice di aver condiviso il palco con questi bravi artisti… ci siamo divertiti, bei ricordi…
Un onore la sua presenza qua. Grazie a lei e agli altri artisti per questo capolavoro.
+Roberto Gerboles tu sei favoloso!!! :))
Grazie di cuore a tutti!!, è stato un bel lavoro!! Grazie!!
+Roberto Gerboles Grande, complimenti!
Roberto Gerboles - bravissimi!
A M A Z I N G PE R F E C T .. I JUST FALL IN LOVE WITH THOSE VOICES
Furio.... mamma mia che voce!!! Una voce chiara e limpida da baritono, morbida.... e poi nel
registro medio grave e in quello grave imbrunisce naturalmente... con dei gravi degni di un basso.
Bellissimo timbro, fantastico!!!!! =)
This opera hit the Paris of Rameau like a thunderbolt, touching off a debate that lasted for decades. (1) It was short. (2) it was genuinely funny. (3) and most important, all the characters were ordinary people. No Greek or Roman gods, no legendary heroes, etc.
He is a baritone and can sing as a basso buffo... simply fantastic!!!
Sapevamo tutti che La Serva Padrona era un capolavoro. Con Fasolis e gli altri protagonisti di questa meravigliosa rappresentazione abbiamo capito perché!
Mi piace che come nel sottofondo di ogni scena c’è tafano che mangia la ciabatta con mortadella
I met Sonya Yoncheva, many years ago, thank this performance. I fell in loving with her voice and I and I knew she was destined to be a great star. So it was
Sonya est fantastique, comme toujours... brillante, charmante, avec un timbre absolument délicieux.
Can't believe I've never heard this opera before - it's great!!
It's one of the absolutely greatest jewels of the Neapolitan School. And Yoncheva is delightful here, in her real Fach.
@@novagerio9244 sues. A gem she is. ❤️
Che bella la voce di baritono. Bravissimo
Esecuzione eccellente da ogni punto di vista.Fasolis ha saputo imprimere il suo marchio,assecondato dai due superbi interpreti.
Cantanti e orchestra meravigliosi, direzione e regia eccellenti!
Bella l'impronta della radiotelevisione svizzera! Desumibile in ogni secondo di questo video! Bello!
Formidables musiciens et belle production !!! Bravo......
13:00 Beautiful Sonya Yoncheva sings with the most alluring expressions. Lovely acting! She’s such doll! ❤️💔🎶💔
At 22:13 I’m hooked…Poor Uberto’s a bit slow, because I think I’d take less convincing to do what she says! lol
26:39 Serpina’s expression is priceless, as she works her delightful feminine charms’
38:54 At last! 39:10 Such darling theatrics and 39:20 wily expressions!
39:43 delightful Baroque passage
Furio Zamasi an excellent Umberto.
Love the closing duet!
Don’t you think the two extras were more of a distraction?
Just a thought.
Realizzazione scenica di gran classe del celebre Intermezzo di Pergolesi. Non si potrà mai dire abbastanza bene di questa proposta di patcucciola !!
Musica extraordinária. Bela e soberba Serpina. Ai se Pergolesi não tivesse abandonado tão cedo o mundo dos vivos ...
stab matter... algo assim... é de pergolesi?
Musique sublime, orchestre et chanteurs fantastiques et mise en scène pétillante d'inventivité ... quel spectacle !!!!
It was well known that the Serva Padrona by Pergolesi is a masterpiece. With the Fasolis and coworkers interpretation we understand why!
Geniale!!!! Sono molto felice di ascoltare questa versione!!!! È il teatro vero e il canto bellissimo!! Grazie!
Splendore! Grazie! 👏👏👏👏👏
This opera must have taken the spotlight from whatever it was used as an intermezzo for. That ending, oh my god.
Tout le monde est magnifique! Surtout elle! Bravissima Serpina!
Sonya Yoncheva made me believe this opera buffa
was for adults, not for children. She's Magic.
il Fasolone è il migliore!! io e la mia lasse abbiamo anche creato una fan page in suo onore su facebook dopo aver visto questo suo stupendo lavoro. complimenti al nostro grande direttore!!!
Whats the page
I loved Sempre en contrasti! Such a well improvised version of the aria. Lots of movement and character.
Lovely, just lovely. An absolutely perfect jewel of an opera.
I can't speak Italian, and it's still funny!
That's the magic of Opera Buffa. :-)
The woman who plays the violin on the back ground has a a low-cut evening dress in this shot 39:45 but then at 39:56 she is wearing a a dress with long sleeves. How is it possible? I thought this was a live performance on theatre!
Lmao
c'est un film pas du in live cela n'enlève rien au spectacle formidable
I don't see any difference between those two shots 🤔
@@aaronhilliker7566 You should pay more attention then.
@@TheLOVEELINA At a first sight, you shouldn't have thought so.
Minunata lucrare muzicala , superba interpretarea ...Felicitari .
Bellissimo, grazie Patcucciola !
Je redécouvre cette oeuvre grâce à cette superbe interprétation. Merci
Grazie mille per questa stupenda interpretazione !!!! Meraviglioso!
sonya yoncheva......stunning!!!!
Her facial expressions are like heroin to me.
Brilliant, charming! Excellent singers, excellent musicians!
Exceptionala reprezentatie !Merci beaucoup !
che meraviglia!!! 💗
Sonya Yoncheva is quite the looker as well as an excellent singer!
Troppo bella la parte di stizzoso mio stizzoso
bravo ragazzi. voci fantastiche! fasolis e sonya yoncheva on top. danke an rsi: für solche produktionen bezahle ich gerne den billag-obulus nach lugano
e i musicisti. Musica pulitissima, vivace e spiritosa
Pergolesi urodził się 4 stycznia, tak jak ja :D
Bardzo fajne wykonanie :)
Stupendi tutti!
Both have great voices
Meraviglioso!
Bravoo!! genial interpretacion de todos!! fabulosas voces y actuaciones.. felicitaciones!
Meraviglioso
Io sono bella, graziosa, spiritosa. When it comes the relations between men and women, it is somehow gratifying to know that they knew everything there was to know around 1730. Nothing has been added since then. Leo Depuydt
Yes, and how much more delightful it is to learn that what they knew, was confirmed by classical sources.
오페라 부파의 레치타티보는 매우빠르고 수다스럽기 때문에 노래라기보다 말에 가까운. 혼자 연주하는 레치타티보다 두 사람이 대사하는 형태로 연주되는 중창이 대부분. 최초의 오페라 부파 마님이된 하녀 (평범한 사람들의 일상적인 이야기를 재미나게 풀어냄)
31:52 아리아
13:20
Grazie a patcucciola, splendida musica e splendia interpretazione !
...el inmenso talento del maestro Pergolesi que supo dejarnos tantas maravillosas obras a pesar de su corta existencia
13:03 serpina aria stizzoso
WOW, thank you for uploading! Amazing production!
What is the title of the opera?
Who is the composer?
What is the style of the opera(opera seria/opera buffa)?why?
What is the opera all about? (give a short storyline)
Tang inang module
Module😭✊
SAGUTIN NYO NA😭
fleece langss
𝑘𝑎𝑙𝑎 𝑘𝑜 𝑚𝑎𝑦 𝑠𝑢𝑚𝑎𝑔𝑜𝑡 𝑛𝑎 𝑛𝑜𝑒 𝑤𝑎𝑙𝑎 𝑝𝑎 𝑝𝑎𝑙𝑎
Genio italiano ❤❤❤❤❤❤
che bella edizione :-)
ammazza quanto è bòna la Yoncheva!!
Condivido... ma l'ho vista prima io!!!! :)
Hahaha
In questo duetto é sensualissima.
Spoiler: si (intra)vedono le tette! :P
ua-cam.com/video/oADm9_KUc1I/v-deo.html
@@FreeSilio beh, Poppea... :D
thank you,so beautiful and witty!
Me ancantaría ser música y estar en la orquesta tocando esta maravillosa obra, debe ser un agrado.
🎹🎼🎵🎵🎵si si lo es y lo se por que soy cantante :-)
Graiela,qué bueno recibir tu comentario. Hace muchos años fui cantante y conocí esta obra maravillosa. Soy de Chile, ¿de dónde eres tú?
+Cristina Fuentes Ecuador
Bravi, bravi arci bravi!
bravissimi!!!!!!!!!!!!!!
Maravilosa obra, la adoro
Great composing by Giovan Battista Pergolesi
One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V to my UA-cam posting. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections.
ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC:
AN ESSAY (PART IIIb)
_by_ Leo Depuydt
_To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_
(_Continuation from Part IIIa_.)
APPENDIX: SUPPORTING MATERIALS
APPENDIX, SECTION Ib: Historical Notes on the Appreciation of Pergolesi’s Music (_continued_)
This much about Pergolesi’s style. But what about his reputation? I select often cited testimonies by the great philosopher J.-J. Rousseau (1712-1778), the great mathematician and student of the physics of music, J. Le Rond D’Alembert (1717-1783), the great contemporary French composer J.-Ph. Rameau (1683-1764), and-who else-the eternal J. S. Bach (1685-1750) himself, none of them Italians by the way. There have been detractors, a number of Germans and some English, some bitter. Perhaps, at some point, someone will be able to find out what to make of it all.
But before adducing the testimonies in question, a unique property of G. B. Pergolesi’s legacy may be pointed out. It appears that, of the compositions that have been attributed to him at one point or another, perhaps 80% or 90% are not by him. There is nothing anywhere close to it in the history of music.
As regards the testimonies anticipated above, J.-J. Rousseau-who himself composed respectable music-called G. B. Pergolesi “inimitable (_inimitable_)” [9].
All culminates, evidently, in G. B. Pergolesi’s _Stabat mater_, composed just before his death. The analogy has very often been made with W. A. Mozart’s (1756-1791) _Requiem_, which he composed on his deathbed. Did J.-J. Rousseau exaggerate when he called the opening duet of G. B. Pergolesi’s _Stabat mater_ “the most perfect and the most touching that has ever come from the pen of any musician”? [10]
According to J. Le Rond D’Alembert, G. B. Pergolesi was the “Rafael of Italian music” [11].
There was much discussion in the eighteenth century as to whether either French or Italian opera music was superior. In that regard, A. E. M. Grétry reports that J.-Ph. Rameau, this paragon of French music in the eighteenth century and the successor to the Italian-born French composer J.-B. Lully (1632-1687), confided to his friend the Reverend Arnaud when he was about 60 years old, that, if he were 30 years younger, he would travel to Italy and compose in the style of G. B. Pergolesi [12]. But he felt that he was too old for change. What about that for a confession?
And then there is J. S. Bach. To my knowledge, the only work that he copied and adapted from another composer in full orchestration, and not just in a conversion for keyboard, is G. B. Pergolesi’s _Stabat mater_. A fitting tribute indeed. J. S. Bach schoolishly completes harmonies, adding the fourth note. But it is a matter of taste whether the result is an improvement.
G. B. Pergolesi has been adduced above as 1) a metaphor for style, and then 2) for rediscovery, and then also 3) for excellence. But there is more. He also stands for the dawning of a new age and the arrival of modernity.
The focus is on Naples, once the second(?) largest city of Europe and the world, a city still known for its vibrant music scene, as evidenced in a recent motion picture by the actor and director J. Turturro. Thousands and thousands (if not hundreds of thousands) of music manuscripts rest in the libraries of Naples and of several European capitals. It is a huge legacy that is only in recent decades is beginning to be rediscovered in earnest. The neglect is owed in great part to the fact that, since G. B. Pergolesi’s time, Naples and Italy’s Mezziogorno have known episodes of decline and neglect.
There is much to be said for the notion that modern music came into its own in the early eighteenth century in Naples, finally completely moving away from the polyphony of the Renaissance, and G. B. Pergolesi was part of this new development. Polyphony has its masterworks. But to the modern ear, it has a certain otherworldly quality.
The new Neapolitan style was known as the “sweet new style (_dolce stil nuovo_)”. G. B. Pergolesi surpassed all other composers in the practice of it. In contrast to some other composers, he for the most part avoids ostentation through the coloratura that is so well known from the vocal music of the baroque period. Indeed, a principal virtue of G. B. Pergolesi’s music is its simplicity-to the extent that many have been surprised how music that looks so simple on the page can sound so good when performed.
The Neapolitan style was the beginning of a new era that stretches all the way to the present day. Music reached a new and final plateau and that is where it stayed. True, music later became more sophisticated in all kinds of ways pertaining to composition, performance, and instrumentation. But I do not believe that much of it clearly surpasses the Neapolitan style in beauty. What is more, music lost all its humor in the nineteenth century. Furthermore, protagonists do not at great length and spectacularly die in eighteenth century operas. That is a relief.
The Neapolitan style still remains relatively less known in spite of the revival of recent decades. Accordingly, one comes upon statements here and there in various media by those who, when encountering it accidentally, are a little perplexed as to how they missed it.
One limitation of the style in question is that its achievements are mostly in vocal music. Its contributions to instrumental music are limited. L(eonardo) Leo’s (1694-1744) six concertos for cello are an exception rather than the rule.
This means that knowing Latin (for the sacred music) and Italian (for the secular music), sometimes the Neapolitan dialect of Italian for comedic operas (_opera buffa_), much increases the appreciation of the music in question, and especially of G. B. Pergolesi’s music.
The language factor may form a bit of a barrier and prevent the music in question from breaking out from a certain niche.
And evidently, to appreciate G. B Pergolesi’s sacred music, it is necessary to realize that it is very, very Catholic.
In higher learning, it is always enlightening to know who influenced whom. By analogy, in the quest for an appreciation of G. B. Pergolesi’s style, it helps to listen to those that were close to him in place, time, and person, those three main coordinates of the human condition. Just two striking anecdotes.
Ch. Burney transmits the following first anecdote. As a rebellious 14-year old who had just mastered the traditional fine points of composing, G. B. Pergolesi wanted his friends to take him home so “that he might indulge his own fancies, and write such Music as was most agreeable to his natural perceptions and feelings” and that “[t]he instant he quitted the conservatorio, he totally changed his style, and adopted the style of [L(eonardo)] Vinci [(1690-1730)] . . . and of [J. A.] Hasse [(1699-1783)]” [13].
L. Vinci, the first great master of the _dolce stil nuovo_, is to be distinguished from L. da Vinci (1452-1519), he of the Mona Lisa, who may have been distantly related I read somewhere. The anecdote explains something about G. B. Pergolesi’s unique originality.
L. Vinci died in 1730, perhaps poisoned, just when G. B. Pergolesi began composing, and could not have been influenced by him. I refrain from detailing reports that J. A. Hasse, who composed prolifically both before and after G. B. Pergolesi’s short creative life (1730-1736), changed his style after becoming acquainted with G. B Pergolesi’s music.
A special case is L(eonardo) Leo (1694-1744). He comes closest in style in many ways to G. B. Pergolesi. He ain’t G. B. Pergolesi. But still, his music constantly pleases and it exhibits many, many moments of exceptional beauty and simplicity combined. Music reached a pinnacle in early eighteenth century (early _settecento_) Naples. Has this pinnacle ever truly been surpassed?
A second anecdote is as follows. G. B. Pergolesi admired his older contemporary L. Leo as a mentor. L. Leo may have been the first to truly master counterpoint, I read somewhere, but I leave that to musicologists. I see one more possible indication of a new age dawning. According to one account, G. B. Pergolesi invited L. Leo to a performance of his Mass in F, upon completion of which L. Leo warmly and openly embraced him and highly praised him [14] [15]. Once familiar with G. B. Pergolesi’s style, L. Leo began imitating it, like other older Neapolitan composers, sometimes copying him almost note by note [16]. L. Leo was once famous all over Europe. How many have heard of him nowadays? Still, there has been a little bit of a revival.
(_Continued in Part IIIc._)
Great production, TY for sharing.
Bravissimi, voci splendide!
In questa interpretazione manca il duetto "Per te io ho nel core". E' presente solo il duetto della versione originale "Contento tu sarai". Bella interpretazione. Grazie
è dopo i titoli di coda.
Il duetto "Per te io ho nel core" e' stato scritto nel 1735 da Pergolesi per l' opera Il Flaminio ed era usanza che durante tutto il 1700 venisse eseguito al posto di "Contento tu sarai" che siamo solitamente abituati ad ascoltare a conclusione di questo intermezzo buffo dell' opera Il prigionier superbo sempre su libretto del Federico.
bravi tutti!
I didn't know Voldemort was a conductor too
lmao, i'm listening to these songs bc i need to recognize them in a test and this comment made my day 😂
;) hahahahahhaahahhaha
update i got 8.5
lmao
Ci nasconde tante cose quel pelato
What an utter delight! Many thanks.
Beautiful production!
Un grande plauso anche al misconosciuto librettista Gennaro Antonio Federico;
quanta freschezza, quanta grazia, quanta arguzia !!!
Does anyone know the source of the postlude sung by the two servants? Ah, I have answered my own question! It is a variant version of the finale, also by Pergolesi, but much more in the mode. An interesting solution to give it to the servants, even though we have to put up with far too many of their antics in the show itself.
ASPETTARE E NON VENIRE: 2:34
STIZZOSO, MIO STIZZOSO: 13:02
Perché le arie sono in playback e I recitativi no?
One may have to be Signed In to Google to read all about Pergolesi’s uniqueness. There are five (5) sections I-V to my UA-cam posting. And since III comes in IIIa, IIIb, and IIIc, that is in effect seven (7) sections.
ABOUT THE TRANSCENDENTAL UNIQUENESS OF PERGOLESI’S MUSIC:
AN ESSAY (PART II)
_by_ Leo Depuydt
_To the Memory of Jean-Jacques Rousseau (1712-1778), André Ernest Modeste Grétry (1741-1813), and Jean le Rond D’Alembert (1717-1783), Unconditional Admirers and Lovers of the Eternal Pergolesi’s Music, Comrades-in-Arms_
(_Continuation of the main text in Part I._)
First are the six features that set apart Pergolesi from his teacher Durante according to Pergolesi, as follows:
1) _L’allievo Pergolese_ [Correction!: Pergolesi always signed his name “Pergolesi”] _all’opposto era pieno di estro e vivacità;_
2) _accoppiava insieme lo stilo forte ed armonioso ne’_ repieni _delle voci_
3) _con un_ accompagnamento _instrumentale_ [sic]_, che sempre cantava;_
4) _mosse naturali dei bassi per lo più_ camminanti _, che anch’essi cantavano;_
5) _un passeggiar di tuoni semplice e regolare, ma sempre rintracciando nuovi sentieri;_
6) _e quindi se qualche volta mostravasi lungo anzi che no, pure non attediava._
de Rosa’s description continues with features that first (_primo_) manifested themselves in Pergolesi’s music in his opinion, as follows:
7)_Egli si fu il primo, cui venne in pensiero vestire qualche_ Aria _di un accompagnamento_ instrumentale _diverso dalla_ cantilena _dell’attore,_
8)_egli il primo che tra i due violini intrecciasse due motivi diversi;_
9)_egli il primo che pose in campo il_ semitonare _cantando;_
10)_in somma egli il primo che spogliasse la_ cantilena _delle_ ariette _dal difficile e secco dello Scarlatti, e cercasse, per quanto fosse possibile, adattarla alla passione, che destar dovevano le parole, onde coll’espressione del cantante si commovesse il cuore di chi ascoltava. Dotato dalla natura di un cuore sensibilissimo, non iscrisse un verso di musica, che non corrispondesse alle parole, che volle animar con forza e finezza, consultando sempre la natura, e la verità, …._
I classify the rest of this sentence as an eleventh characteristic:
11) _... senza far uso di quelle fragorose modulazioni, che simili alle fugitive meteore, abbagliano talvolta gl’ignoranti, ma che tosto svaniscono e nel nulla restan sepolte._
A more detailed discussion of this unparalleled characterization of Pergolesi’s music is desirable. The need is for illustrating each with concrete musical examples. The examples are very much present to me. But I do not know exactly as to how to present it. The fact remains that there is nothing like Pergolesi’s music anywhere.
Meanwhile, here is a provisional English translation of de Rosa’s epochal text (now completely forgotten, I again note):
“(1) His (Durante’s) student Pergolesi was, by contrast, full of whim (¬_estro_) and vivacity, (2) which he combined with his (Durante’s own) strong and harmonious style of voices singing all together [that is, in _¬tutti_], (3) and also with instrumental accompaniments that always sing, (4) as well as with natural movements by the basses that almost always march on while also singing, (5) and moreover with a progression of notes that is simple and regular while always tracing new paths. (6) And so when he (Pergolesi) sometimes expressed himself at greater length (‘rather longer than shorter’), he never caused boredom”.
(On to the features that the Marquese believed Pergolesi to be the first to exhibit in the history of music.)
“He was (1) the first who came up with the idea of adorning an aria with an instrumental accompaniment that differed from the melody of the actor, (2) the first who made the two violin parts intertwine two different motives, (3) the first to put into the field the singing halftone, (4) in sum the first who stripped the sing-song of the arias from the difficult and dry properties of Scarlatti’s arias and sought as much as possible to adapt it to the passion that the words are designed to excite so that the heart of the listener moved along with the expression of the singer. Gifted with the nature of a most sensible heart, he never wrote a verse of music that did not correspond to the words, which he wished to animate with strength and finesse, always consulting with nature and truth,”
(and classifying the following property separately)
“without using the deafening modulations that, like fleeting meteors, at times dazzle the ignoramuses but before long vanish and remain buried in nothingness”.
I hope to discuss these characteristics in detail at a later time. I am not sure about how to convey musical examples.
I need that
Ha ha! Ce mu - tra îm- buf - na - ta
Excuse my ignorance, but does anyone know where I can find this with English subtitles?
...en.wikisource.org/wiki/La_Serva_Padrona This is the best I found
Bielorussia yies u can fin dis in france fur 36722662637373737377pooounds
Formidable !!
Brazil here 🇧🇷🇧🇷🇧🇷
What is the title?
Who is the composer?
What is the style of opera?
Storyline?
"serva padrona" 2.Giovan Battista Pergolesi 3.Opera buffa, it's an intermezzo 4. Serpina wants to marry Uberto so Vespone (the mute) pretend to marry Serpina, so Uberto ask Serpina to marry him not Vespone
@@ushgreta440 tysm po isa kang anghel nahulog sa sky🤞✨
First Pergolesi opera I've seen - now I'm add
icted !!
Who's is the composer of this opera buffa
Giovan BBattista Pergolesi
la musique avec classe et tenue
BR??
Beautifully sung and played. Appallingly directed. So little to do with the text
Glad you enjoyed it! :-)
AMAZING!!!!!!
13:02
What a loss that Pergolesi had to die at 26, he could have become another Mozart (actually predating the original...).
"Another Mozart" seems a bit of an exaggeration to me. By 26, Mozart was already composing things like Idomeneo and the "Gran Partita" serenade. There's no doubt that Pergolesi died too soon, though.
Is it me, or does this look like they're lip sync'ing it?
+ffjsb Absolutely! The volume is constant every note.
+Carlos Iribarren It kind of reminds me of the old TV specials, like live action Peter Pan.
Chiama il baritono?
Come si chiama
Скажите а что за театр?
I would like to know, what does the name of this intermezzo mean in English? (apologies for not knowing; my folks have been living in the USA for some time now... my Italian is shabby, but perhaps not completely lost?)... does it mean, "the servant girl is the boss"? (I could Google it, but I think it's more accurate and it's more fun to learn things from real people who really speak Italian.)
+Joseph LoGiurato "The Servant Turned Mistress"
Qual è l'intermezzo?