I've just come from a sleepless reading of the Wikipedia entries for both Mozart and Salieri. I had known for a while that Amadeus was based on the fiction that Salieri had poisoned Mozart, first commited to play by Pushkin and then made famous by Shafer, and that Salieri's music was actually good. But reading both entries I came to the impression that Salieri's life was actually a lot more interesting than Mozart's, and that the jealousy most likely was from Mozart to Salieri, as Salieri was much more succesful in his lifetime than Mozart. The idea that Mozart's failures to secure a steady income were from Salieri's conspiracy seem to have come from Mozart himself, in letters complaining about it to his father. I think a screenplay from that angle could produce a much deeper and mature narrative of the life of both musicians. One showing that Salieri married at 24, that he had a son, that he lost son and wife in quick succession, that he taught for free for all but his wealthiest pupils as a tribute to when he was taken in by Gaussman. Also, in the movie Salieri's part was taken by the goblin like F. Murray Abraham, when in real life he looked nothing like it... while Mozart did seem to look like a goblin, short and pockmarked. All this would make for an interesting reverse Amadeus play.
Actually, Joseph II never said that. Actually, Salieri was more respected in Vienna at the time than Mozart. Actually, Salieri's works are amazing in their own right. Actually, Salieri's music is making a comeback due to conductors, singers, orchestras and record labels championing his works. Actually, there are so many inaccuracies in the film/play Amadeus that it is completely unforgivable. The only thing the film got right is that Mozart is one of the greatest composers this world has ever seen, and Salieri isn't.
Preliminary note This is a new version of Salieri's probably most successful opera Tarare, written for Paris. Lorenzo da Ponte wrote this Italian version of the originally French libretto. FIRST ACT Atar, who rose from soldier to general through bravery, returns to his newlywed wife Aspasia after a victorious war. The two live a happy time, which is only marred by the frequent dismissal in the service of King Axur, whom Atar had once saved. One day, when Atar and Aspasia are in the garden, the couple notices that their house has caught fire. While Atar tries to extinguish the fire, Aspasia is kidnapped by soldiers. The returning Atar can only watch his wife being dragged away and put on a ship. SECOND ACT Biscroma, the harem guard in King Axur's palace, knows that his king personally gave the order to kidnap Aspasia. Since Biscroma's life was once saved by Atar, he asks Axur for mercy for the general and his beautiful wife. Axur, however, jealous of Atar's personal happiness and popularity, which he enjoys among the people, seeks to ruin his general's life. Altamoro, the son of the high priest and Axur's devoted servant, reports that Aspasia's kidnapping was successful and that she was in his palace. The king then orders his harem guard to organize a festival for the next day. The desperate Atar has also come to the royal court to ask Axur for help. The latter secretly triumphs over Atar's unfortunate condition, ironically expresses himself about a soldier who sheds tears because of a woman, but then feigns condolences and promises Atar to provide him with a ship for the search for Aspasia. THIRD ACT Arteneo, the high priest, reports to Axur that the kingdom is again under threat from enemies. He advises his master to appoint a new general and to tell the people that this has been determined by the gods. When asked about suitable names, Axur suggests to the high priest his own son, Altamoro. Meanwhile, Biscroma has discovered Atar Palace and tells him that Aspasia is held captive in Axur's harem under the name Irza. Biscroma suggests using a rope ladder that leads from the Seraglio to the sea to prepare Aspasia's liberation. Atar is supposed to steal into the garden at night and bring his wife back. In the meantime the people have gathered in front of the temple to learn the name of the new general and to pledge allegiance to him. The innocent lips of a boy, Elamir, are supposed to announce him. But contrary to the order of the high priest, Elamir does not name Altomoro, but Atar. The people cheer and Atar agrees to take over the command of the army again. The defeated Altamoro insults Atar, whereupon he challenges him to a duel. FOURTH ACT Axur has changed his mind and wants the Haremsfest scheduled for the following day to be held this evening. Biscroma tries to stop him, because the kidnapping of Aspasia should take place at this time. But Axur cannot be changed and Biscroma decides to put an end to the party early with a trick. Slaves bring Aspasia in and the festival begins. A harlequinade is performed, which is applauded by the king. Then Biscroma sings a little song in which he describes how his life was once saved by Atar. No sooner has this name escaped his lips than Axur rushes to Biscroma. Everything is fleeing. Aspasia passed out when Atar is named and Fiammetta, her confidante, fears for her life. At Fiammetta's outcry, Axur leaves Biscroma and returns. In the meantime, Atar has sneaked into the harem. Biscroma disguises him as a black so that Axur will not recognize him. At the same time, Axur comes out of Aspasia's room angry because she has firmly rejected him. When he sees the Moor, he immediately comes up with a new malicious thought. As a punishment for the humiliation that Aspasia inflicted on him, the black man is said to be her husband. Desperate about her fate and convinced that Atar was killed, Aspasia wishes for death. When her Biscroma opens up to be paired with a dumb black, she tearfully asks Fiammetta to sacrifice herself for what she does. The "Moor" Atar is disappointed when he realizes that "Irza / Fiammetta" is not his Aspasia. At that moment guards storm into the harem; Axur had given them orders to kill the Moors because he didn't want to give up hope for Aspasia yet. Biscroma holds back the soldiers and reveals the true identity of their victim. Terrified, they withdraw. They know that the situation is hopeless. FIFTH ACT Axur has Atar brought up to announce the punishment, but Atar only wishes for death himself and warns Axur of the consequences of his disgraceful acts. He also explains to the king that the girl "Irza" is not Aspasia at all. The indignant king calls for Aspasia and when she appears, the two lovers happily fall into each other's arms. Fiammetta confesses that she was disguised as "Irza" and is sentenced to death. Atar, who is separated from Aspasia, also faces the death penalty. Aspasia threatens to stab herself if the guards grab Atar. Then slaves rush at Axur's feet and ask him for mercy for Atar. Under Biscroma's leadership, soldiers appear to free Atar. But the latter orders a halt and demands that the king be respected. Axur must recognize that Atar's authority is unchallenged and greater than his own among the people. He stabs himself under curses. The crowd calls Atar to be their new king. At first he rejects the honor, but then accepts it, provided that the chains are not taken from him. They should remain as a reminder that he only uses his power for the good of the people.
I am sure that one day, which is not far away, the history of Antoni Salieri will be rewritten in compliance with the historical truth and his wonderful music will be regularly listened to many scenes of the world's opera. Sunt sigura ca intr-o buna zi, care nu este departe, istoria lui Antoni Salieri se va rescrie cu respectarea adevarului istoric si muzica sa minunata va fi ascultata in mod regulat pe multe scene de opera ale lumii.
Finalmente capiamo che Tarare e Axur non sono affatto la stessa opera, ma due distinti capolavori. La fantasia e la genialità di Salieri sono veramente grandi.
Antonio Salieri best fits the proverb: "You only throw stones into the tree that has fruit." I didn't want to listen to his music, but now I find that this is exceedingly beautiful. Why? That he didn't have a father to complain on his behalf? Or because his mother died very early and did not have time to tell him how talented and wonderful it is?? Lui Antonio Salieri i se potriveste cel mai bine proverbul: "Arunci cu pietre doar in pomul care are roade". Nu vream sa- i ascult muzica, dar acum gasesc ca aceasta este nespus de frumoasa. Oare de ce? ca nu a avut un tata care sa faca reclamatii in numele lui? Sau pentru ca mama sa a murit foarte devreme si nu a avut timp sa-i spuna ce talentat si minunat este??
@@christophs1801 I disagree, this version is just a bit more slowly played, and it's the first version I have ever heard (other than that of the film "Amadeus"), I think people got so used with that version that they can't even hear another version without comparisons and find it "strange" or "unusual", but I can feel in this version the same strength I felt on that, a strength that is gorgeous, that chills my spine when I hear it, more than any other music played on that film... What can I say but: Salieri! 😊
It's a shame that Salieri;s musical reputation has been tainted by the play and film "Amadeus" which was an adaptation of the Pushkin poem "Mozart & Salieri". Salieri was one of the leading composers of his era which is why he was selected to be Emperor Joseph II's Court Composer. I like "Amadeus" because it contains some of Mozart's best music but it has many historical inaccuracies.
How do you know it has historical inaccuracies? Did you grow up with Mozart and Salieri and take good notes? If not then you don't know who is right regarding the history of them.
David James First of all, that's a ludicrous question and normally I wouldn't waste my time responding but since it's a hobby of mine to put down devil's advocates like you, here is a direct quote from Maynard Solomon's biography about Mozart: " ...there is very little evidence that the relationship between the two composers was at all acrimonious beyond this, especially after 1785 or so when Mozart had become established in Vienna. Rather, they appeared to usually see each other as friends and colleagues and supported each other's work. For example, when Salieri was appointed Kapellmeister in 1788 he revived Figaro instead of bringing out a new opera of his own; and when he went to the coronation festivities for Leopold II in 1790 he had no fewer than three Mozart masses in his luggage. Salieri and Mozart even composed a cantata for voice and piano together, called Per la ricuperata salute di Ophelia, which celebrated the return to stage of the singer Nancy Storace. This work has been lost, although it had been printed by Artaria. in 1785. Mozart's Davide penitente (1785),his Piano Concerto KV 482 (1785), the Clarinet Quintet (1789) and the 40th Symphony (1788) had been premiered on the suggestion of Salieri, who supposedly conducted a performance of it in 1791. In his last surviving letter from 14 October 1791, Mozart tells his wife that he collected Salieri and Caterina Cavalieri in his carriage and drove them both to the opera; about Salieri's attendance at his opera The Magic Flute, speaking enthusiastically: "He heard and saw with all his attention, and from the overture to the last choir there was not a piece that didn't elicit a 'Bravo!' or 'Bello!' out of him..." According to Solomon, the rumor of their being a rivalry between them was that Mozart resented not being selected to be the music teacher for Emperor Franz Joseph II's niece Princess Elisabeth of Wurttemburg. In the film, we are told that another composer was selected but this is not true (yet another example of an inaccuracy). The composer selected was Salieri himself. Mozart's father Leopold believed that the reason why Mozart was not selected was because Salieri used his influence with the Emperor to ensure that Mozart was not given the position. And years after Mozart died - around the time Pushkin wrote that poem - another rumor began that Salieri had actually poisoned Mozart. But this has no basis whatever. Finally, years after Mozart died, Salieri was one of the principal figures responsible for the education of Mozart's youngest child Franz Xaver Mozart who was born a year after his father's death. If Salieri truly despised Mozart, why would the former make sure a gesture?
Dennis Nayland Smith Sir, I commend you for your eloquently exposed and structured arguments! One needs only to read and look for to find the proper knowledge and sources to base their arguments. People such as the one you just lectured are in dire need of such education and enlightment.
Award for “best composer whose attention was mostly brought to light by a film portraying him as mediocre and causing people to view him as the underdog and thus causing people to rout for him” goes to...
TOCCA le corde dell'animo. Bisognerebbe rivalutare il giudizio dell'imperatore Giuseppe II d'Asburgo che considerò AXUR, re d'Ormus la più bella opera lirica mai scritta fino a quel momento. Nell'ascolto bisognerebbe tener presente il libretto di Lorenzo da Ponte perché lavoro di eccezionale valore estetico. Comunque, un elogio a tutti gli interpreti, dai cantanti all'orchestra e soprattutto al Direttore che ha "caricato" di entusiasmo tutti i protagonisti. Verdi conosceva bene Salieri.
Penso che il film Amadeus, grazie alla bravura del regista e degli attori e alla bellezza dei brani musicali inseriti, ha contribuito molto a fare conoscere e amare Mozart e Salieri a tanti giovani, incuriosendoli e facendoli avvicinare al fantastico mondo dell'Opera e della grande Musica! Ciò al di là della storiella su cui si basa, del presunto contrasto fra i due grandi Musicisti e dell'avvelenamento!
Спасибо большое за возможность послушать великолепную оперу Антонио Сальери - "Аксур, Царь Ормуза"! 😍😍😍 Это замечательный шедевр великого композитора! Также, рекомендую послушать французскую версию "Тарар"! Невероятно красиво! ❤️❤️❤️ И конечно, каждое произведение Антонио Сальери очень грандиозное, со свежими и необычными идеями! 🎼🎶🎵 Bravo, mio ♥️ Maestro!
It is most certain that the finale of this opera affected one of his disciples, Franz Schubert, who composed his eighth symphony in C major, at its very ending.
This was the first time I’ve heard the Finale other than from the Amadeus film. Obviously much slower here, but very cool to hear it differently as well.
Questo capolavoro fu scritto a Vienna in 1788. Mi sembra che l'opera fosse registrata per Nuova Era records durante l'anno 1990 con Andrea Martin (Axur), Eva Mei (Aspasia), Curtis Rayam (Axur)…Direzione Musicale: René Clemencic.
Axur, King of Ormus: baritone Andrea Martin Arteneo, High Priest of Brahma: baritone Massimo Valentini Altamor, a soldier, Arteneo's son: bass Michele Porcelli Atar, a soldier: tenor Curtis Rayam Aspasia, Atar's wife: soprano Eva Mei Biscroma, a slave/Brighella: Baritone Ettore Nova Fiammetta, Biscroma's wife/Smeraldina: sopranoTeresa Calvesi Elamir: soprano Sonia Turchetta Urson, a soldier: tenor Mario Cecchetti Arlecchino: tenor Giovan Battista Palmieri Coro "Guido d'Arezzo", Russian Philharmonic Orchestra, Rene Clemencic
Anyone looking for the finale in a faster tempo, try the same number from the original opera, Tarare (in French) that this Italian seria was based on. It has a slightly different decrescendo/diminuendo at the end as it transitions to the original finale but still worth a listen. There is no tam-tam/gong in the original score, it was added for the film. ua-cam.com/video/PxL9MjPQKRc/v-deo.html Tarare is a tragedie lyrique, full of the fast paced heroic ardor and elegant grace that the genre is known for. The French genre's were excellent at accompanied recitative and shortened, integrated numbers that make the later 19th century all through composed opera's less impressive.
I consider very appropriate the comment of Curé (see below). Mozart and Salieri were rivals ( as it is natural) but friends. Salieri was fully aware of the greatness of his younger colleague; jealous ? It may be , it's a natural human feeling. But he was not a bad man as Pushkin states in his drama, nor a ridiculous one as in Amadeus; he took care of the sons of Mozart after his death; like many italian composers he had a wonderful career , he knew how to behave in a court. Mozart like many geniuses unfortunately not. This is the history. The quality of the music is radically different! Salieri was a good craftman but Mozart ......just under God.
The point is: "Amadeus" gets utterly misunderstood. Antonio Salieri (in the movie, not in reality) is not simply an envier; he is a person who lost his belief in God - who did not award a humble worker in God's vineyard by taking him for his speaker, but an "obscene child". No doubt about it: even that very special Salieri in M. Forman's movie would easily stand back behind a greater talent - if this was an Olympian.But besides of that: historically, there were traces of jealousy between Mozart an Salieri from time to time, but in the opposite direction. Anyway, there was no kind of hostility between them.
Will it be possible to have information on this production? It sounds a lot like one I sang in some 30 years go at the Chigiana weed in Siena. Could that be possible?
From wiki "The whole opera was recorded by René Clemencic in 1989 in Siena with the Russian Philharmonic Orchestra and Coro "Guido d'Arezzo", with Andreas Martin in the title role, and other leading roles taken by Eva Mei (Aspasia), Curtis Rayam (Atar) and Ettore Nova (Biscroma/Brighella). The recording was issued by Nuova Era in 2001 (NE 7366 & 67) and reissued in 2005."
Why is this piece so long? How can someone listen to this in one sitting. They might have to go to the bathroom and take a nap. It is quite long at almost 3 hours. Was this atypical for the time?
Very interesting, language more bent towards the XIX century (like Cimarosa and Cherubini), Mozart is more classic from the point of view of the style. But the level of the " taste" can't be compared:Mozart is never "popular" , if anything he uses pop rythm with aristocratic condescension he would never composed 1.31:00
But between us, I do not know who contributed more to the lack of the well-deserved recognition/celebrity in our century of Antonio Salieri: Puskin with his work of fiction or women's opera singers who discovered that his areas are too heavy for their voices.
There's one thing that intrigues me while hearing this that I pray upon a music buff to answer. Quite often it seems the rhythm of the music or singing sounds similar to Mozart's style. Was it simply because of it being the popular style of the time in Vienna or was it something else? I've listened to other operas that may have been composed at a later time after Mozart that don't have the same style at all. Was it something Vienna based or was it of the time it was written?
It was never Mozarts style. It's the Italian style. All composers at the time wrote operas in that style. And Salieris operas were considered extremely original. He was experimenting a lot. Gluck had a lot to do with that
Опера заслуговує на більшє! (Моцарт "проскакує"😉). Цікаво в якому році, і хто здійсненив цей запис?!🤔 Таке враження, що в 1975р. Новосибірський Оперний по дорозі на гастролі до Кишенева записав це в приміщенні Казанського вокзалу. Р.S. Не дарма, ТиТруба попереджає☝️! 😁
Grazioso non c'è che dire. Sul piano stilistico anticipa la cantabilità del tardo Cimarosa e del belcantismo italiano del primo ottocento ( Bellini in particolare). Una certa forza drammatica in alcune scene; ma manca quell'elemento strutturale profondo che conferisce coerenza e unità al tutto;così gli spunti positivi restano frammenti isolati, quasi inconsapevoli: il genio è invece cosciente di se stesso e sa scegliere con gusto sicuro le soluzioni estetiche più appropriate. Questa è l'abissale differenza, più che il carattere volgare e triviale di alcuni passaggi dell'Axur, vere cadute di stile, che passa tra un brillante artigiano come Salieri e un genio assoluto come Mozart.
What I find interesting is Mozart may have been a better pure instrumental composer but he could not even compete with Antonio Salleri when it came to Opera.
+michaelkeha I believe the two actually collaborated on a number of compositions, and Signore Salieri was responsible largely for the revival of Don Giovanni
That is facinating that would explain some of Mozart's pieces having a certain flare to them not common amongst northern composers who tended to focus more on technical precsion.
+michaelkeha Most of the music written in that period and region were inspired by the style of Papa Haydn. Mozart, and I suspect Salieri, were no exceptions. As I've read, the Mozarts were great admirers of Haydn. Mozart's generation just took it to the next level (or two).
Listening to this work and others, it's clear Salieri was no slouch as a composer. Like Haydn, his work is technically flawless. But, also like Haydn, his work lacks the true spark of genius. He was no Mozart.
finalmente dopo secoli qualcuno ha fissato un riferimento salvifico. per cui poi, è meglio mozart o beethoven? meglio mozart o bach(uno a caso)? meglio bach o haydn? haydn è meglio di salieri ma peggio di mozart? paisiello è meglio di salieri? e perchè mozart e non cimarosa è meglio di salieri?
@@m.p.2234 Salieri was such a naturally talented musician that he was working with Gluck and Hasse when he barely 20 years old. Fairly certain they’d be able to sniff out a ‘decent’ talent vs a ‘real’ talent. The world didn’t conspire to promote Salieri and only Salieri in Vienna for 30 years…He was measured against the residing and incoming/travelling musicians who were selected to write Italian opera in Vienna. Travellers like Paisiello, Cimarosa, and Martini Soler sometimes drew better at the box office than Salieri. Just like Mozart’s Cosi drew better than Salieri’s La Cifra…To me the largest issue people have with Salieri is that Mozart died young, and we needed to assign blame… Salieri fit the bill, even though the last year of Mozart’s life they’d become friends. Were they always friends…obviously not….But the arch enemy narrative, as well as the poisoning story is utter nonsense.
The world needs a better quality recording of this...
Please!
If you say so...
Honestly! I was really disappointed. Horrible sound, REALLY mediocre orchestral playing, but wonderful singing (especially Eva Mei).
I've just come from a sleepless reading of the Wikipedia entries for both Mozart and Salieri. I had known for a while that Amadeus was based on the fiction that Salieri had poisoned Mozart, first commited to play by Pushkin and then made famous by Shafer, and that Salieri's music was actually good. But reading both entries I came to the impression that Salieri's life was actually a lot more interesting than Mozart's, and that the jealousy most likely was from Mozart to Salieri, as Salieri was much more succesful in his lifetime than Mozart. The idea that Mozart's failures to secure a steady income were from Salieri's conspiracy seem to have come from Mozart himself, in letters complaining about it to his father.
I think a screenplay from that angle could produce a much deeper and mature narrative of the life of both musicians. One showing that Salieri married at 24, that he had a son, that he lost son and wife in quick succession, that he taught for free for all but his wealthiest pupils as a tribute to when he was taken in by Gaussman. Also, in the movie Salieri's part was taken by the goblin like F. Murray Abraham, when in real life he looked nothing like it... while Mozart did seem to look like a goblin, short and pockmarked. All this would make for an interesting reverse Amadeus play.
"I believe... I believe, it is THE BEST opera yet written, my friends."
Actually the man had no ear at all
Actually, Joseph II never said that. Actually, Salieri was more respected in Vienna at the time than Mozart. Actually, Salieri's works are amazing in their own right. Actually, Salieri's music is making a comeback due to conductors, singers, orchestras and record labels championing his works. Actually, there are so many inaccuracies in the film/play Amadeus that it is completely unforgivable. The only thing the film got right is that Mozart is one of the greatest composers this world has ever seen, and Salieri isn't.
All jokes aside this is my favorite opera.
@@totesgene He derserves recognition and I am sure Mozart wouldn't object to him being praised for his achievements either.
@@MrMielten Well the most overrated composer of all time in my opinion is by far Bach.
This has just the right amount of notes
Lol
Yes, yes, of course, my estimation exactly 🧐
Axur - Andrea Martin
Atar - Curtis Rayam
Aspasia - Eva Mei
Biscroma - Ettore Nova
Fiammetta - Ambra Vespasiani
Arteneo - Massimo Valentini
Altamor - Michele Porcelli
Urson - Mario Cecchetti
Elamir - Sonia Turchetta
Arlecchino - Giovanni Battista Palmieri
Coro "Guido d'Arezzo"
Russian Philharmonic Orchestra
Rene Clemencic
1989
Timecodes for anyone curious
0:00: Overture
2:39: Duetto (Aspasia/Atar)
9:31: Aria (Asparia)
12:35: Duetto (Atar/Asparia)
17:35: Duetto (Axur/Biscroma)
26:36: Chorus
33:19: Scena (Axur/Atar)
35:56: Recit/Aria (Atar)
39:24: Aria(s) (Axur; Atar)
44:41: Act I Finale (Atar, Biscroma, Axur, Altamor)
52:53: Aria (Axur)
54:45: Scene (Arteneo, Atar, Biscroma)
1:01:15: Aria (Atar)
1:05:55: Duet (Arteneo, Elamir)
1:08:34: Marcia/Scene (Arteneo, Altamor (?); Chorus)
1:13:51: Chorus
1:14:53: Act II Finale
1:20:30: Chorus Finale
1:22:21: Sinfonia
1:24:08: Duetto (Biscroma, Axur)
1:27:31: Aria (Urson)
1:29:05: Marcia (Chorus)
1:31:45: The random commedia dell' arte scene (Arlecchino, Brighella, Columbina)
1:39:53: Romance (Biscroma; Chorus)
1:44:10: Scene (Melite, Axur)
1:48:01: Duetto (Atar, Biscroma)
1:58:48: Aria/Scene (Axur; Biscroma, Atar)
2:01:58: Duet (Atar, Biscroma)
2:04:19: Recit/Aria (Aspasia)
2:12:46: Arietta (Melite)
2:14:09: Duetto (Aspasia, Melite)
2:18:02: Arietta (Melite)
2:19:14: Act III Finale (Melite, Atar, Urson, Biscroma, Chorus)
2:26:20: Act IV Introduction/Aria (Axur)
2:30:25: Aria (Atar)
2:32:57: Act IV finale (Arteneo, Aspasia, Atar, Axur, Biscroma, Urson, Chorus)
Need to come back in and add about 20 minutes from Act III that got deleted in a comment, but hopefully this is useful to someone.
Did u come back yet
@@jononpaperseems that he hasn't)))
@@lifeofasinglekazakh what a shame
One hears such sounds, and what can one say but... Salieri!
Preliminary note
This is a new version of Salieri's probably most successful opera Tarare, written for Paris. Lorenzo da Ponte wrote this Italian version of the originally French libretto.
FIRST ACT
Atar, who rose from soldier to general through bravery, returns to his newlywed wife Aspasia after a victorious war. The two live a happy time, which is only marred by the frequent dismissal in the service of King Axur, whom Atar had once saved. One day, when Atar and Aspasia are in the garden, the couple notices that their house has caught fire. While Atar tries to extinguish the fire, Aspasia is kidnapped by soldiers. The returning Atar can only watch his wife being dragged away and put on a ship.
SECOND ACT
Biscroma, the harem guard in King Axur's palace, knows that his king personally gave the order to kidnap Aspasia. Since Biscroma's life was once saved by Atar, he asks Axur for mercy for the general and his beautiful wife. Axur, however, jealous of Atar's personal happiness and popularity, which he enjoys among the people, seeks to ruin his general's life. Altamoro, the son of the high priest and Axur's devoted servant, reports that Aspasia's kidnapping was successful and that she was in his palace. The king then orders his harem guard to organize a festival for the next day. The desperate Atar has also come to the royal court to ask Axur for help. The latter secretly triumphs over Atar's unfortunate condition, ironically expresses himself about a soldier who sheds tears because of a woman, but then feigns condolences and promises Atar to provide him with a ship for the search for Aspasia.
THIRD ACT
Arteneo, the high priest, reports to Axur that the kingdom is again under threat from enemies. He advises his master to appoint a new general and to tell the people that this has been determined by the gods. When asked about suitable names, Axur suggests to the high priest his own son, Altamoro. Meanwhile, Biscroma has discovered Atar Palace and tells him that Aspasia is held captive in Axur's harem under the name Irza. Biscroma suggests using a rope ladder that leads from the Seraglio to the sea to prepare Aspasia's liberation. Atar is supposed to steal into the garden at night and bring his wife back. In the meantime the people have gathered in front of the temple to learn the name of the new general and to pledge allegiance to him. The innocent lips of a boy, Elamir, are supposed to announce him. But contrary to the order of the high priest, Elamir does not name Altomoro, but Atar. The people cheer and Atar agrees to take over the command of the army again. The defeated Altamoro insults Atar, whereupon he challenges him to a duel.
FOURTH ACT
Axur has changed his mind and wants the Haremsfest scheduled for the following day to be held this evening. Biscroma tries to stop him, because the kidnapping of Aspasia should take place at this time. But Axur cannot be changed and Biscroma decides to put an end to the party early with a trick. Slaves bring Aspasia in and the festival begins. A harlequinade is performed, which is applauded by the king. Then Biscroma sings a little song in which he describes how his life was once saved by Atar. No sooner has this name escaped his lips than Axur rushes to Biscroma. Everything is fleeing. Aspasia passed out when Atar is named and Fiammetta, her confidante, fears for her life. At Fiammetta's outcry, Axur leaves Biscroma and returns. In the meantime, Atar has sneaked into the harem. Biscroma disguises him as a black so that Axur will not recognize him. At the same time, Axur comes out of Aspasia's room angry because she has firmly rejected him. When he sees the Moor, he immediately comes up with a new malicious thought. As a punishment for the humiliation that Aspasia inflicted on him, the black man is said to be her husband. Desperate about her fate and convinced that Atar was killed, Aspasia wishes for death. When her Biscroma opens up to be paired with a dumb black, she tearfully asks Fiammetta to sacrifice herself for what she does. The "Moor" Atar is disappointed when he realizes that "Irza / Fiammetta" is not his Aspasia. At that moment guards storm into the harem; Axur had given them orders to kill the Moors because he didn't want to give up hope for Aspasia yet. Biscroma holds back the soldiers and reveals the true identity of their victim. Terrified, they withdraw. They know that the situation is hopeless.
FIFTH ACT
Axur has Atar brought up to announce the punishment, but Atar only wishes for death himself and warns Axur of the consequences of his disgraceful acts. He also explains to the king that the girl "Irza" is not Aspasia at all. The indignant king calls for Aspasia and when she appears, the two lovers happily fall into each other's arms. Fiammetta confesses that she was disguised as "Irza" and is sentenced to death. Atar, who is separated from Aspasia, also faces the death penalty. Aspasia threatens to stab herself if the guards grab Atar. Then slaves rush at Axur's feet and ask him for mercy for Atar. Under Biscroma's leadership, soldiers appear to free Atar. But the latter orders a halt and demands that the king be respected. Axur must recognize that Atar's authority is unchallenged and greater than his own among the people. He stabs himself under curses. The crowd calls Atar to be their new king. At first he rejects the honor, but then accepts it, provided that the chains are not taken from him. They should remain as a reminder that he only uses his power for the good of the people.
I LOVE YOU THNKSSS
I am sure that one day, which is not far away, the history of Antoni Salieri will be rewritten in compliance with the historical truth and his wonderful music will be regularly listened to many scenes of the world's opera. Sunt sigura ca intr-o buna zi, care nu este departe, istoria lui Antoni Salieri se va rescrie cu respectarea adevarului istoric si muzica sa minunata va fi ascultata in mod regulat pe multe scene de opera ale lumii.
Excuse me but is that Romanian in the second part of your message?
Finalmente capiamo che Tarare e Axur non sono affatto la stessa opera, ma due distinti capolavori. La fantasia e la genialità di Salieri sono veramente grandi.
Antonio Salieri best fits the proverb: "You only throw stones into the tree that has fruit." I didn't want to listen to his music, but now I find that this is exceedingly beautiful. Why? That he didn't have a father to complain on his behalf? Or because his mother died very early and did not have time to tell him how talented and wonderful it is?? Lui Antonio Salieri i se potriveste cel mai bine proverbul: "Arunci cu pietre doar in pomul care are roade". Nu vream sa- i ascult muzica, dar acum gasesc ca aceasta este nespus de frumoasa. Oare de ce? ca nu a avut un tata care sa faca reclamatii in numele lui? Sau pentru ca mama sa a murit foarte devreme si nu a avut timp sa-i spuna ce talentat si minunat este??
52:52 I love this aria! So powerful!
salieri was one of the best musician ever
Always wanted to listen and see this Opera since watching Amadeus.
I’d call this an evening very well spent.
Viva Salieri. Un genio sconosciuto e dimenticato.
Salieri is wonderful.
one of salieri greatest musical masterpiece.
To all of you who watched "Amadeus" - 2:42:07
+OmegaTaishu it was much more intense in the movie : /
hehe
@@christophs1801 I disagree, this version is just a bit more slowly played, and it's the first version I have ever heard (other than that of the film "Amadeus"), I think people got so used with that version that they can't even hear another version without comparisons and find it "strange" or "unusual", but I can feel in this version the same strength I felt on that, a strength that is gorgeous, that chills my spine when I hear it, more than any other music played on that film... What can I say but: Salieri! 😊
thank you omg
too slow! I'll take the "Amadeus" version. This tempo is plodding and not the way I've heard from other sources.
It's a shame that Salieri;s musical reputation has been tainted by the play and film "Amadeus" which was an adaptation of the Pushkin poem "Mozart & Salieri". Salieri was one of the leading composers of his era which is why he was selected to be Emperor Joseph II's Court Composer. I like "Amadeus" because it contains some of Mozart's best music but it has many historical inaccuracies.
very true sir.....but man o man i cant help but LOVE that film !
Qamber Ali I love it too and that's the problem. It's hard to criticize a film you like.
How do you know it has historical inaccuracies? Did you grow up with Mozart and Salieri and take good notes? If not then you don't know who is right regarding the history of them.
David James First of all, that's a ludicrous question and normally I wouldn't waste my time responding but since it's a hobby of mine to put down devil's advocates like you, here is a direct quote from Maynard Solomon's biography about Mozart:
" ...there is very little evidence that the relationship between the two composers was at all acrimonious beyond this, especially after 1785 or so when Mozart had become established in Vienna. Rather, they appeared to usually see each other as friends and colleagues and supported each other's work. For example, when Salieri was appointed Kapellmeister in 1788 he revived Figaro instead of bringing out a new opera of his own; and when he went to the coronation festivities for Leopold II in 1790 he had no fewer than three Mozart masses in his luggage. Salieri and Mozart even composed a cantata for voice and piano together, called Per la ricuperata salute di Ophelia, which celebrated the return to stage of the singer Nancy Storace. This work has been lost, although it had been printed by Artaria. in 1785. Mozart's Davide penitente (1785),his Piano Concerto KV 482 (1785), the Clarinet Quintet (1789) and the 40th Symphony (1788) had been premiered on the suggestion of Salieri, who supposedly conducted a performance of it in 1791. In his last surviving letter from 14 October 1791, Mozart tells his wife that he collected Salieri and Caterina Cavalieri in his carriage and drove them both to the opera; about Salieri's attendance at his opera The Magic Flute, speaking enthusiastically: "He heard and saw with all his attention, and from the overture to the last choir there was not a piece that didn't elicit a 'Bravo!' or 'Bello!' out of him..."
According to Solomon, the rumor of their being a rivalry between them was that Mozart resented not being selected to be the music teacher for Emperor Franz Joseph II's niece Princess Elisabeth of Wurttemburg. In the film, we are told that another composer was selected but this is not true (yet another example of an inaccuracy). The composer selected was Salieri himself. Mozart's father Leopold believed that the reason why Mozart was not selected was because Salieri used his influence with the Emperor to ensure that Mozart was not given the position. And years after Mozart died - around the time Pushkin wrote that poem - another rumor began that Salieri had actually poisoned Mozart. But this has no basis whatever.
Finally, years after Mozart died, Salieri was one of the principal figures responsible for the education of Mozart's youngest child Franz Xaver Mozart who was born a year after his father's death. If Salieri truly despised Mozart, why would the former make sure a gesture?
Dennis Nayland Smith
Sir, I commend you for your eloquently exposed and structured arguments!
One needs only to read and look for to find the proper knowledge and sources to base their arguments.
People such as the one you just lectured are in dire need of such education and enlightment.
Magnificen! It is the second time I listen to Salieri. He was also a genius! Thank you for sharing this opera.
Award for “best composer whose attention was mostly brought to light by a film portraying him as mediocre and causing people to view him as the underdog and thus causing people to rout for him” goes to...
Puskin, femele opera singers.
I video pubblicati sono stupendi
TOCCA le corde dell'animo. Bisognerebbe rivalutare il giudizio dell'imperatore Giuseppe II d'Asburgo che considerò AXUR, re d'Ormus la più bella opera lirica mai scritta fino a quel momento. Nell'ascolto bisognerebbe tener presente il libretto di Lorenzo da Ponte perché lavoro di eccezionale valore estetico. Comunque, un elogio a tutti gli interpreti, dai cantanti all'orchestra e soprattutto al Direttore che ha "caricato" di entusiasmo tutti i protagonisti. Verdi conosceva bene Salieri.
Bravo Salieri affè... Bravo Salieri affè!! :))
For those of you interested in hearing the finale as heard in the movie Amadeus (1984), head on to 2:42:08
El coro de la escena final de esta ópera aparece en la icónica película de Amadeus.
Penso che il film Amadeus, grazie alla bravura del regista e degli attori e alla bellezza dei brani musicali inseriti, ha contribuito molto a fare conoscere e amare Mozart e Salieri a tanti giovani, incuriosendoli e facendoli avvicinare al fantastico mondo dell'Opera e della grande Musica! Ciò al di là della storiella su cui si basa, del presunto contrasto fra i due grandi Musicisti e dell'avvelenamento!
This is my favorite opera of all time
The finale is used in Amadeus, but the opera, as a whole is wonderful.
Also the music around 2:11:00 is in Amadeus.
I love his music...
this upload is wonderful.
*Still the OG.*
Bellissima opera...magari metterla in cartellone in qualche teatro sarebbe magnifico
2:11:00
one of my favorite parts :D
:)
"I regret it is not too familiar..."
whats the name of that part
“I didn’t!” 😒
Спасибо большое за возможность послушать великолепную оперу Антонио Сальери - "Аксур, Царь Ормуза"!
😍😍😍
Это замечательный шедевр великого композитора! Также, рекомендую послушать французскую версию "Тарар"! Невероятно красиво!
❤️❤️❤️
И конечно, каждое произведение Антонио Сальери очень грандиозное, со свежими и необычными идеями!
🎼🎶🎵
Bravo, mio ♥️ Maestro!
Aún siendo, como soy, afrodescendiente puedo interesarme, intentar aproximarme. apreciar. Y disfrutar de esta música.
Thanks for uploading!
It is most certain that the finale of this opera affected one of his disciples, Franz Schubert, who composed his eighth symphony in C major, at its very ending.
This was the first time I’ve heard the Finale other than from the Amadeus film. Obviously much slower here, but very cool to hear it differently as well.
Trop de flow, Salieri est sous-côté
2:42:06 most favorite part
bravo!
Bella signora
2:11:25 just wonderful
Questo capolavoro fu scritto a Vienna in 1788. Mi sembra che l'opera fosse registrata per Nuova Era records durante l'anno 1990 con Andrea Martin (Axur), Eva Mei (Aspasia), Curtis Rayam (Axur)…Direzione Musicale: René Clemencic.
2:10:38
Axur, King of Ormus: baritone Andrea Martin
Arteneo, High Priest of Brahma: baritone Massimo Valentini
Altamor, a soldier, Arteneo's son: bass Michele Porcelli
Atar, a soldier: tenor Curtis Rayam
Aspasia, Atar's wife: soprano Eva Mei
Biscroma, a slave/Brighella: Baritone Ettore Nova
Fiammetta, Biscroma's wife/Smeraldina: sopranoTeresa Calvesi
Elamir: soprano Sonia Turchetta
Urson, a soldier: tenor Mario Cecchetti
Arlecchino: tenor Giovan Battista Palmieri
Coro "Guido d'Arezzo", Russian Philharmonic Orchestra, Rene Clemencic
Thank you for these data!
2:39, Qui dove ride l'aura
Anyone looking for the finale in a faster tempo, try the same number from the original opera, Tarare (in French) that this Italian seria was based on. It has a slightly different decrescendo/diminuendo at the end as it transitions to the original finale but still worth a listen. There is no tam-tam/gong in the original score, it was added for the film.
ua-cam.com/video/PxL9MjPQKRc/v-deo.html
Tarare is a tragedie lyrique, full of the fast paced heroic ardor and elegant grace that the genre is known for. The French genre's were excellent at accompanied recitative and shortened, integrated numbers that make the later 19th century all through composed opera's less impressive.
I consider very appropriate the comment of Curé (see below). Mozart and Salieri were rivals ( as it is natural) but friends. Salieri was fully aware of the greatness of his younger colleague; jealous ? It may be , it's a natural human feeling. But he was not a bad man as Pushkin states in his drama, nor a ridiculous one as in Amadeus; he took care of the sons of Mozart after his death; like many italian composers he had a wonderful career , he knew how to behave in a court. Mozart like many geniuses unfortunately not. This is the history. The quality of the music is radically different! Salieri was a good craftman but Mozart ......just under God.
1:49:00
Beautiful... Perhaps you'd be savy of a cover of Axur, r ed' Ormus?
36:25 Soave luce di paradiso (Atar)
They couldn’t show more of Salieri’s music in Amadeus because it would sink the story.
Ouch lol
Why does the category say "Pets & Aminals?"
Mozart may have been more famous, but Salieri's impact on music may have been greater, having taught Liszt, Schubert and Beethoven.
All of those composers (and uncountably many more) studied and were influenced by Mozart's music far beyond Salieri's tutelage.
🤣🤣😂😂
@@TheCriticsAreRaving Salieri was considered the best musical teacher at the time
Great Record!!
BUT WHO IS SINGING?????????
well, surely Amadeus might showed Salieri as a jealous mediocre man, but I disagree, his musics are quite beautiful for my ears.
it is only a play by Puskin. Don't take it seriously. Mozart himself has great respect for Salieri.
The point is: "Amadeus" gets utterly misunderstood. Antonio Salieri (in the movie, not in reality) is not simply an envier; he is a person who lost his belief in God - who did not award a humble worker in God's vineyard by taking him for his speaker, but an "obscene child". No doubt about it: even that very special Salieri in M. Forman's movie would easily stand back behind a greater talent - if this was an Olympian.But besides of that: historically, there were traces of jealousy between Mozart an Salieri from time to time, but in the opposite direction. Anyway, there was no kind of hostility between them.
@@canman5060. I believe after Mozart's death, Salieri taught his son.
2:26:20
2:42:07
2:11:11
In the movie Amadeus the Emperor and the audience were so thrilled by this opera because they only had to sit through about a minute of it.
😂😂😂😂
That's rather belittling
Will it be possible to have information on this production? It sounds a lot like one I sang in some 30 years go at the Chigiana weed in Siena. Could that be possible?
From wiki "The whole opera was recorded by René Clemencic in 1989 in Siena with the Russian Philharmonic Orchestra and Coro "Guido d'Arezzo", with Andreas Martin in the title role, and other leading roles taken by Eva Mei (Aspasia), Curtis Rayam (Atar) and Ettore Nova (Biscroma/Brighella). The recording was issued by Nuova Era in 2001 (NE 7366 & 67) and reissued in 2005."
How can i find the live performance of this opera on the stage? Is that available on UA-cam?
Ақсұр, Ормуздың патшасы
2:42:20 I mean, you'd tune your timps wouldnt you?
where is Son queste le speranze in this?
Around 02:07:51
Né più vaghi soggiorni 26:35
Why is this piece so long? How can someone listen to this in one sitting. They might have to go to the bathroom and take a nap. It is quite long at almost 3 hours. Was this atypical for the time?
David James yes. It’s called opera you moron.
Operas generally have intermissions, although bear in mind that James Cameron's Titanic is three hours and did *not* have a break.
Very interesting, language more bent towards the XIX century (like Cimarosa and Cherubini), Mozart is more classic from the point of view of the style. But the level of the " taste" can't be compared:Mozart is never "popular" , if anything he uses pop rythm with aristocratic condescension he would never composed 1.31:00
But between us, I do not know who contributed more to the lack of the well-deserved recognition/celebrity in our century of Antonio Salieri: Puskin with his work of fiction or women's opera singers who discovered that his areas are too heavy for their voices.
good
Who else checked this out after watching Amadeus?
There's one thing that intrigues me while hearing this that I pray upon a music buff to answer. Quite often it seems the rhythm of the music or singing sounds similar to Mozart's style. Was it simply because of it being the popular style of the time in Vienna or was it something else? I've listened to other operas that may have been composed at a later time after Mozart that don't have the same style at all. Was it something Vienna based or was it of the time it was written?
It was never Mozarts style. It's the Italian style. All composers at the time wrote operas in that style. And Salieris operas were considered extremely original. He was experimenting a lot. Gluck had a lot to do with that
Опера заслуговує на більшє! (Моцарт "проскакує"😉). Цікаво в якому році, і хто здійсненив цей запис?!🤔 Таке враження, що в 1975р. Новосибірський Оперний по дорозі на гастролі до Кишенева записав це в приміщенні Казанського вокзалу. Р.S. Не дарма, ТиТруба попереджає☝️! 😁
è possibile avere informazioni su questa produzione? grazie!
Si può sapere dove e quando è stato registrata l'opera
Grazioso non c'è che dire. Sul piano stilistico anticipa la cantabilità del tardo Cimarosa e del belcantismo italiano del primo ottocento ( Bellini in particolare). Una certa forza drammatica in alcune scene; ma manca quell'elemento strutturale profondo che conferisce coerenza e unità al tutto;così gli spunti positivi restano frammenti isolati, quasi inconsapevoli: il genio è invece cosciente di se stesso e sa scegliere con gusto sicuro le soluzioni estetiche più appropriate. Questa è l'abissale differenza, più che il carattere volgare e triviale di alcuni passaggi dell'Axur, vere cadute di stile, che passa tra un brillante artigiano come Salieri e un genio assoluto come Mozart.
cast?
Talking of TOO MANY NOTES in the movie, Mozart was not the only one. Salieri was a genius, the movie is just cheap entertainment.
хорошая запись
Antonio Włodzimierz Salieri
Sussy Salieri
What I find interesting is Mozart may have been a better pure instrumental composer but he could not even compete with Antonio Salleri when it came to Opera.
+michaelkeha I believe the two actually collaborated on a number of compositions, and Signore Salieri was responsible largely for the revival of Don Giovanni
That is facinating that would explain some of Mozart's pieces having a certain flare to them not common amongst northern composers who tended to focus more on technical precsion.
+michaelkeha Most of the music written in that period and region were inspired by the style of Papa Haydn. Mozart, and I suspect Salieri, were no exceptions. As I've read, the Mozarts were great admirers of Haydn. Mozart's generation just took it to the next level (or two).
That may well be true.
oh please. the Marriage of Figaro greatest opera
Great opera, terrible recording.
this version is too slow ngl
Attractive, competent music, but comparisons to Mozart do Salieri no favours.
Timpani is out of tune.
Listening to this work and others, it's clear Salieri was no slouch as a composer. Like Haydn, his work is technically flawless. But, also like Haydn, his work lacks the true spark of genius. He was no Mozart.
대체 누가 천재이고 무엇이 걸작이라는게냐. 다들 귀가 썩었느냐. 이건 작곡이 아니라 자기가 알고있는 음악지식을 그냥 악보에다가 집대성해놓은 것 그 이상도 이하도 아니질 않은가! 그 어디에도 작곡가의 독창성과 창의성은 귀 씻고 들어도 없거늘!!!
Is better mozart :/
finalmente dopo secoli qualcuno ha fissato un riferimento salvifico. per cui poi, è meglio mozart o beethoven? meglio mozart o bach(uno a caso)? meglio bach o haydn? haydn è meglio di salieri ma peggio di mozart? paisiello è meglio di salieri? e perchè mozart e non cimarosa è meglio di salieri?
_Mozart was a mason grade 33, it's all. Salieri was decent._
@@lisamariefansite9193 oh no please what‘s wrong with you?
@@m.p.2234 Salieri was such a naturally talented musician that he was working with Gluck and Hasse when he barely 20 years old. Fairly certain they’d be able to sniff out a ‘decent’ talent vs a ‘real’ talent. The world didn’t conspire to promote Salieri and only Salieri in Vienna for 30 years…He was measured against the residing and incoming/travelling musicians who were selected to write Italian opera in Vienna. Travellers like Paisiello, Cimarosa, and Martini Soler sometimes drew better at the box office than Salieri. Just like Mozart’s Cosi drew better than Salieri’s La Cifra…To me the largest issue people have with Salieri is that Mozart died young, and we needed to assign blame… Salieri fit the bill, even though the last year of Mozart’s life they’d become friends. Were they always friends…obviously not….But the arch enemy narrative, as well as the poisoning story is utter nonsense.
2:11:17