Composer: Giaochino Rossini
Librettist: Jacopo Ferretti
Premiere: 25 January 1817, Rome (Teatro Valle)
Language: Italian
Subtitles: English
HD Version with Italian and English subtitles: https://rumble.com/v4r9glz-rossini-la-cenerentola-von-stade-araiza-montarsolo-abbado-ponnelle-la-scala.html

La Cenerentola, ossia La bontà in trionfo ("Cinderella, or Goodness Triumphant") is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the libretti written by Charles-Guillaume Étienne for the opera Cendrillon with music by Nicolas Isouard (first performed Paris, 1810) and by Francesco Fiorini for Agatina, o la virtù premiata [it] with music by Stefano Pavesi (first performed Milan, 1814). All these operas are versions of the fairy tale Cendrillon by Charles Perrault. Rossini's opera was first performed in Rome's Teatro Valle on 25 January 1817.

In this variation of the fairy tale, the wicked stepmother is replaced by a stepfather, Don Magnifico. The Fairy Godmother is replaced by Alidoro, a philosopher and tutor to the Prince. Cinderella is identified not by a glass slipper but by her bracelet. The supernatural elements that traditionally characterize the Cinderella story were removed from the libretto simply for ease of staging.

Time: Late 18th century – early 19th century
Place: Salerno (Italy)
Synopsis: https://www.opera-arias.com/rossini/la-cenerentola/synopsis/

In 1981 Jean-Pierre Ponnelle revisited his classic '73 La Scala production of La Cenerentola to create this film version - with Federica von Stade at her bel canto peak as the downtrodden Angelina. Under the guiding hand of Claudio Abbado, Rossini comes to life here in a performance of clarity and polish by the La Scala Chorus and Orchestra that lets the music shine.

Cast & Characters:
Cenerentola - Frederica Von Stade
Don Ramiro - Francisco Araiza
Dandini - Claudio Desderi
Don Magnifico - Paolo Montarsolo
Clorinda - Margherita Guglielmi
Tisbe - Laura Zannini
Alindoro - Paul Plishka

Teatro alla Scala Orchestra & Chorus
Harpsichord: Vincenzo Scalera
Conductor: Claudio Abbado
Chorus Master: Romano Gandolfi
Staged, Directed and Designed by Jean-Pierre Ponnelle
Director of Photography: David Watkin

A 1979 videotaped version of Trevor Nunn's Royal Shakespeare Company production of the play by William Shakespeare. Produced by Thames Television, it features Ian McKellen as Macbeth and Judi Dench as Lady Macbeth. The TV version was directed by Philip Casson.

The original stage production was performed at The Other Place, the RSC's small studio theatre in Stratford-upon-Avon. It had been performed in the round before small audiences, with a bare stage and simple costuming. The recording preserves this style: the actors perform on a circular set and with a mostly black background; changes of setting are indicated only by lighting changes.

Cast & Characters:
Ian McKellen as Macbeth
Judi Dench as Lady Macbeth
John Bown as Lennox
Susan Dury as 3rd Witch / Lady Macduff
Judith Harte as 2nd Witch / Gentlewoman
Greg Hicks as Donalbain / Seyton
David Howey as Sergeant / 1st Murderer / Doctor
Griffith Jones as Duncan
Marie Kean as 1st Witch
Ian McDiarmid as The Porter / Ross
Bob Peck as Macduff
Duncan Preston as Angus
Roger Rees as Malcolm
Zak Taylor as Fleance / Messenger
Stephen Warner as Young Macduff
John Woodvine as Banquo

ACT III: Violetta's bedroom
Violetta is alone except for her maid Annina. She is practically penniless and dying of the consumption which has been racking her. A carnival is taking place in the streets outside while she lies in bed. She has had a letter from Germont which she reads through again: Alfredo has wounded the baron in a duel and had to leave the country for a while. Germont has told him of Violetta's sacrifice and he is coming back to ask her forgiveness. But Violetta knows that she has little time left and that her days of love with Alfredo are over.

He arrives and they have an ecstatic reunion. Their love is stronger than ever and they declare their intention of leaving Paris forever. But all this emotion is too much for Violetta and she collapses. Alfredo, looking at her closely for the first time, realises the terrible truth that she is dying. She tries to pretend that this is not so by getting up and dressing, but she is too weak and falls to the floor, crying out bitterly against the cruel fate of dying so young just when her hopes had been about to be fulfilled.

Germont arrives with the doctor, ready to embrace her as a daughter. When he too realises her real condition he is struck by remorse at having caused her so much unhappiness. She gives Alfredo a portrait of herself as a keepsake and tells him to marry some pure young girl and be happy. She rises to her feet, feeling a strange new strength, but it is only the last remission of her illness which precedes death. She collapses lifeless, surrounded by those she holds dearest in the world.

ACT II - Scene 1: A country house near Paris
Alfredo's passion has won the day. Three months later he and Violetta, deeply in love, have cut themselves off completely from fashionable. life. Alfredo's joy is disturbed one morning when he learns from Violetta's maid Annina that Violetta has had to sell her last possessions, because they have been living on her money which is now all gone. He rushes off to Paris to see what he can do to raise some money, leaving a message for Violetta. She comes in with an invitation from Flora, one of her fashionable friends, which she puts aside laughing, not intending to accept. Alfredo's father suddenly appears and accuses her of having ruined his son. When she proves to him that all the money spent has been hers he is more polite, but goes on to ask her to give up Alfredo because the liaison is spoiling his daughter's marriage prospects. Broken-hearted, she agrees - thereby winning his deep admiration. They agree that the only way she can convince Alfredo that their idyll is at at end is to tell him she no longer loves him. Telling Germont to wait in the garden to be ready to comfort Alfredo, she begins a letter to him telling him of her decision. He arrives back before she has finished. Somewhat to his astonishment she bids him a tearful farewell, telling him to love her always as she loves him. A few minutes after her departure he receives her note by a messenger and understands that she has left for ever. His father appears and tries to comfort him, reminding him of his happy childhood in far Provence. Alfredo refuses to be comforted and, seeing Flora's invitation, assumes that Violetta will be returning to her former life and to the baron. He determines to follow her.

Scene 2: Party at Flora's house
Another party is taking place. Dancers dressed as matadors and Spanish gypsies entertain the company and tell their fortunes. Alfredo arrives alone, followed shortly afterwards by Violetta accompanied by the jealous baron who forbids her to speak a word to Alfredo. The men begin to play cards and Alfredo wins, remarking bitterly that he is unlucky at love but lucky at cards. Drawn by their mutual antagonism he and the baron begin to play against each other. Their rivalry increases as Alfredo continues to win. Violetta watches, full of anguish. When the guests retire to another room for supper she begs Alfredo to stay for a moment and entreats him not to anger the baron. Alfredo refuses to believe that her concern is for him rather than the baron, particularly when she refuses his request to leave at once with him. She tells him she has sworn to avoid him and he assumes that only the baron could have had the power to extort such a promise from her. To avoid telling him the truth she says she loves the baron. Desperate, Alfredo calls the others back and throws his winnings at Violetta, calling them to witness that he has now repaid all his debts to her. Everyone turns on him for his unkindness to Violetta and even his father, who comes in at this point, reproves him for insulting a lady. Coming to his senses Alfredo himself is horrified by what he has done. The baron challenges him to a duel for his discourtesy. Violetta, overcome by weakness and emotion, assures Alfredo that she does not deserve his scornful treatment; she still loves him and one day he will be filled with remorse at what he has done.

Act III: https://www.bitchute.com/video/ypPbhg4k3Xyy/

Composer: Giuseppe Verdi
Librettist: Francesco Maria Piave
Premiere: 6 March 1853, Venice (La Fenice)
Language: Italian
Subtitles: English
Version with Italian and English subtitles: https://rumble.com/v4qmezz-verdi-la-traviata-gheorghiu-frontali-vargas-maazel-la-scala-2007.html
Act II: https://www.bitchute.com/video/ypPbhg4k3Xyy/

La traviata (The Fallen Woman)is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux camélias (1852), a play by Alexandre Dumas fils, which he adapted from his own 1848 novel. The opera was originally titled Violetta, after the main character. It was first performed on 6 March 1853 at La Fenice opera house in Venice. La traviata became one of the most frequently performed operas during Verdi's lifetime. It is often ranked highly on annual lists of most performed operas.

Cast & Characters:
Violetta Valery - Angela Gheorghiu
Alfredo Germont - Ramón Vargas
Giorgio Germont - Roberto Frontali
Flora Bervoix - Natascha Petrinsky
Annina - Tiziana Tramonti
Gastone - Enrico Cossutta
Dottore Grenvil - Luigi Roni
Barone Douphol - Alessandro Paliaga
Marchese d'Obigny - Piero Terranova

Orchestra, Chorus and Ballet of Teatro alla Scala
Conductor: Lorin Maazel
Chorus Master: Bruno Casoni

Stage Director: Liliana Cavani
Renewal by Marina Bianchi
Directed for Video and TV by Paola Longobardo

Set Design: Dante Ferretti
Costumes: Gabriella Pescucci
Choreography: Micha von Hoecke

La Traviata Synopsis
Place: Paris and its vicinity
Time: Beginning of the 19th century

ACT I: A room in Violetta's house in Paris
A brilliant party is in progress and Violetta is receiving her guests. One of them begs leave to introduce a friend, Alfredo Germont, who has long admired her from afar. Baron Douphol, Violetta's current protector, takes a dislike to Alfredo and refuses to propose the toast when the wine is poured. Instead Alfredo proposes the toast - to love. Violetta answers that love, like all things, must fade: it is best to enjoy the pleasures of the fleeting moment.

The guests move into another room to dance but Violetta, who had been ill, suddenly feels faint and begs them to go on without her. Only Alfredo remains, anxious about her. He tells her he has loved her from the moment he first saw her a year ago. Violetta warns him not to look to her for love, since she has never experienced it. She tells him to leave and think of her no more, but gives him a flower with permission to return it when it has faded. "That will be tomorrow!" exclaims Alfredo, and she agrees. Alfredo goes, followed shortly afterwards by the other guests.

Left alone, Violetta begins to wonder whether she could love Alfredo, but rejects the possibility. A woman in her position cannot afford such luxuries. She will keep her place in the social whirl of Paris and forget about serious affairs of the heart. Under the balcony Alfredo's voice can be heard repeating his declaration of love.

ACT II - The Tower of London
Anna is imprisoned in the Tower. She prays for peace and solace. Giovanna appears and informs Anna that the king, and her successor, will spare her life if she confesses her guilt. When Giovanna admits that she is to be the new queen, Anna demands that she leave. Giovanna prostrates herself and begs for forgiveness. News arrives that Smeton has confessed to having had an affair with Anna, having been told that this would spare her life. Enrico bursts in and repeats Smeton's confession. Anna turns it back on the king. Giovanna confronts Enrico, and urges forgiveness and caution.

In the Tower Anna recalls her childhood home, and the simplicity of her first love, and as she is summoned to the scaffold she sings a prayer. As cannon fire signals the marriage of Enrico and Giovanna, Anna calls on God to have mercy on the guilty couple.

Composer: Gaetano Donizetti
Librettist: Felice Romani after the play Henry VIII by Marie-Joseph de Chenier (1791) and the play Anna Bolena by Alessandro Pepoli (1788)
Premiere: 26 December 1830 - Milan (Teatro Carcano)
Language: Italian
Subtitles: English
Act II: https://www.bitchute.com/video/pmB4RAtmmoO6/

Anna Bolena is a tragic opera (tragedia lirica) in two acts composed by Gaetano Donizetti. Felice Romani wrote the Italian libretto after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena and Alessandro Pepoli's Anna Bolena, both recounting the life of Anne Boleyn, the second wife of England's King Henry VIII. It is one of four operas by Donizetti dealing with the Tudor period in English history—in composition order, Il castello di Kenilworth (1829), Anna Bolena (1830), Maria Stuarda (named for Mary, Queen of Scots, it appeared in different forms in 1834 and 1835), and Roberto Devereux (1837, named for a putative lover of Queen Elizabeth I of England). The leading female characters of the latter three operas are often referred to as "the Three Donizetti Queens."

Cast & Characters:
Enrico VIII - Ildebrando D'Arcangelo
Anna Bolena - Anna Netrebko
Giovanna Seymour - Elina Garanča
Lord Riccardo Percy - Francesco Meli
Smeton - Elisabeth Kulman
Sir Hervey - Peter Jelosits
Lord Rochefort - Dan Paul Dumitrescu

Wiener Staatsoper Orchestra & Chorus
Conductor: Evelino Pidò
Chorus Masters: Thomas Lang, Martin Schebesta

Stage Director: Eric Genovese
Set Designers: Jacques Gabel, Claire Sternberg
Costume Designer: Luisa Spinatelli
Recorded Live in 2011

Anna Bolena premiered on 26 December 1830 at the Teatro Carcano in Milan, to "overwhelming success." Weinstock notes that only after this success did Donizetti's teacher, Johann Simon Mayr, "address his former pupil as Maestro." The composer had begun "to emerge as one of three most luminous names in the world of Italian opera", alongside Bellini and Rossini. After the rise of verismo, the opera was performed infrequently.

Rarely seen in the first half of the 20th century, it was revived more frequently after World War II. On 30 December 1947, the opera was performed at Gran Teatre del Liceu in Barcelona, to mark that theatre's centennial (it had opened in 1847 with Anna Bolena). The cast was Sara Scuderi as Anna, Giulietta Simionato as Jane Seymour and Cesare Siepi as Henry VIII. In April 1957, the opera was revived at La Scala for Maria Callas (one of the seven performances was recorded) in a lavish production directed by Luchino Visconti, with Giulietta Simionato as Jane Seymour. It proved to be one of Callas' greatest triumphs. In the revival the following year, Callas and Simionato repeated their roles and were joined by Siepi as the king, this role having been sung by Nicola Rossi-Lemeni at the premiere the year before. Several famous modern sopranos have lent their voices to the role, including Leyla Gencer, Montserrat Caballé, Marisa Galvany, Renata Scotto, Edita Gruberova and Mariella Devia. In the 1970s, Beverly Sills earned a considerable degree of fame when she appeared in all three of Donizetti's "Tudor" operas at the New York City Opera. And Anna was one of the last new roles performed by Dame Joan Sutherland, at San Francisco Opera in 1984.

SYNOPSIS
Time: 1536
Place: Windsor and London

ACT I - Windsor Castle
The courtiers predict doom for Anna Bolena. Giovanna Seymour, one of her ladies-in-waiting has caught the eye of King Enrico VIII. Alone in her apartments, Anna asks the court musician, Smeton, to play for her. The sadness of his song upsets the queen (with whom he is in love) and she laments the emptiness of her life. Giovanna begins to suspect that Anna knows about her and the king. When the king enters she informs him she wishes to end their meetings. He tells he, that she will soon have no rival for his affections. Giovanna is adamant but the angry Enrico accuses her of loving the throne, not its occupant. She is consumed with remorse.

The king sets about orchestrating Anna's ruin by arranging for her to come across her former lover, Lord Riccardo Percy, during a hunt. Percy confesses his love for Anna, but she demands that they do not see each other again. When Percy draws his sword to kill himself, Smeton misinterprets his actions and draws his own weapon. As Anna faints, Enrico bursts in and his wife is compromised. The king assumes the worst, and demands that Anna be tried.

Composer: Gaetano Donizetti
Librettist: Salvatore Cammarano, after Sir Walter Scott's 'The Bride of Lammermoor'
Premiere: 26 Septemberr 1835, Naples (Teatro San Carlo di Napoli)
Language: Italian
Translation: English subtitles
Version with Italian and English sub: https://rumble.com/v4qb4vi-donizetti-lucia-di-lammermoor-scotto-bergonzi-zanasi-bartoletti-la-scala-in.html
Lucia di Lammermoor Synopsis: https://www.opera-arias.com/donizetti/lucia-di-lammermoor/synopsis/

Lucia di Lammermoor is a dramma tragico (tragic opera) in three acts by Italian composer Gaetano Donizetti. Salvadore Cammarano wrote the Italian-language libretto loosely based upon Sir Walter Scott's 1819 historical novel The Bride of Lammermoor. The story concerns the emotionally fragile Lucy Ashton (Lucia) who is caught in a feud between her own family and that of the Ravenswoods. The setting is the Lammermuir Hills of Scotland (Lammermoor) in the 17th century.

Cast & Crew:
Miss Lucia - Renata Scotto
Sir Edgardo Di Ravenswood - Carlo Bergonzi
Lord Enrico Ashton - Mario Zanasi
Lord Arturo Bucklaw - Angelo Marchiandi
Raimondo Bidebent - Plinio Clabassi
Alisa - Mirella Fiorentini
Normanno - Giuseppe Baratti

The NHK (Nippon Hoso Kyokai) Symphony Orchestra
Conductor - Bruno Bartoletti

Tokyo Philharmonic Chorus
Chorus Master - Yoichiro Fukunaga

Momoko Tani Ballet Troupe
Choreographer - Goro Arima

Sankikai Theatrical Company
Stage Director - Bruno Nofri
Scenery - Enzo Deho
Costume Design - Marcello D'Ellena
Recorded Live, September 1967, Tokyo Bunka Kaikan
La Scala Tour in Japan 1967.

Donizetti wrote Lucia di Lammermoor in 1835, when he was reaching the peak of his reputation as an opera composer. Gioachino Rossini had recently retired and Vincenzo Bellini had died shortly before the premiere of Lucia leaving Donizetti as "the sole reigning genius of Italian opera". Not only were conditions ripe for Donizetti's success as a composer, but there was also a widespread interest in the history and culture of Scotland. The perceived romance of its violent wars and feuds, as well as its folklore and mythology, intrigued 19th century readers and audiences.

After World War II, a number of sopranos were instrumental in giving new life to the opera, including Maria Callas (with performances from 1954 at La Scala and Berlin in 1955 under Herbert von Karajan) and Dame Joan Sutherland (with 1959 and 1960 performances at the Royal Opera House Covent Garden). An aria from the opera, "Il dolce suono", is featured in the film The Fifth Element.

Composer: Vincenzo Bellini
Librettist: Felice Romani
Premiere: 26 December 1831, Milan (Teatro alla Scala)
Language: Italian
Subtitles: English
Multisub Version.: https://rumble.com/v4ppkvq-bellini-norma-caball-vickers-veasey-patane-theatre-antique-dorange-1974.html

Norma is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after Norma, ossia L'infanticidio (Norma, or The Infanticide) by Alexandre Soumet. Norma is an example of the supreme height of the bel canto tradition.

Cast & Characters:
Norma - Montserrat Caballé
Adalgisa - Josephine Veasey
Pollione - Jon Vickers
Oroveso - Agostino Ferrin
Clotilde - Marisa Zotti
Flavio - Gino Sinimberghi

Teatro Regio di Torino Orchestra & Chorus
Conductor: Giuseppe Patanè
Director: Pierre Jourdan
Theatre Antique d'Orange July 20th, 1974

The title role—"one of the most taxing and wide-ranging parts in the entire repertory"—is one of the most difficult in the soprano repertoire. The German soprano Lilli Lehmann once remarked that the singing of all three Brünnhilde roles of Wagner's opera cycle Der Ring des Nibelungen in one evening would be less stressful than the singing of one Norma.

The Premiere cast in the main roles were; Giuditta Pasta, for whom the role of Norma was created, Domenico Donzelli as Pollione, Giulia Grisi as Adalgisa, and Vincenzo Negrini as Oroveso. Among the well known singers of Norma of the first half of the 20th century was Rosa Ponselle who played the role in New York and London. During the later 20th century, with the bel canto revival, the most prolific Norma was the Greek-American soprano Maria Callas, who gave 89 stage performances (several of which exist on live recordings as well as two on studio versions made in 1954 and 1960). Notable exponents of the title role during the 60'-70's were Leyla Gencer, Joan Sutherland, and Montserrat Caballé.

SYNOPSIS: Place: Gaul
Time: c. 100-50 BC (Roman occupation)

ACT I: Gaul during the Roman occupation. Pollione, the Roman consul, has abandoned Norma, the Druid high priestess (by whom he has two sons) in favour of Adalgisa, an acolyte. Norma is unaware of Pollione's infidelity. Despite ominous dreams, Pollione decides to take Adalgisa back to Rome and marry her. Norma is shattered to discover that Adalgisa's lover is none other than Pollione, while Adalgisa is horrified to learn that Pollione is intending to abandon Norma.

ACT II: Norma wrestles with her conscience as she contemplates the murder of her children. She manages to restrain herself and decides to entrust them to Adalgisa's care. Adalgisa renounces Pollione to Norma and, swearing never to love him again, promises to persuade him to return to the mother of his children. When Norma learns of Adalgisa's failure to achieve this goal, she incites the Gauls to war against the Romans: all that is needed is a sacrifice.

Pollione is captured breaking into the virgin's temple and is sentenced to death, but he still refuses to disown Adalgisa. Norma, driven to despair, orders the funeral pyre to be lit - she will take Pollione's place as the sacrifice. Her selflessness forces Pollione to reconsider and he realizes that he does in fact love Norma after all. But it is too late: after consigning her children to her father's care, she mounts the pyre, where she is joined in death by Pollione.

Un cortometraggio prodotto dalla Incom nel 1941, con la regia di regia di Edmondo Cancellieri.

Si tratta di un documentario che ripercorre le principali tappe della storia della musica dalle origini al '900, offrendo parallelismi con la storia dell'arte e dell'architettura e, soprattutto, adeguati accompagnamenti musicali ora di tipo sacro, ora di genere classico, ora di carattere moderno.

Un cortometraggio del 1949 prodotto da Opus Film, con la regia di Viviana Pasqualini.

Il documentario illustra la collezione di dipinti d'arte sacra agli Uffizi dal Medioevo al Rinascimento e al Manierismo.

Un cortometraggio del 1936 prodotto dall'Istituto Nazionale Luce, con la regia di Ganni Vernuccio.

Un cortometraggio prodotto dall'Istituto Nazionale Luce nel 1943.

Regia di : Piero Paolucci e Giovanni Portalupi.
Direttore del coro : Pettinella, Riccardo
Pianista : Cesare Boerio
Pianista : Concetta Abbate

Casa Verdi è una casa di riposo per cantanti e musicisti che abbiano compiuto 65 anni di età, fondata da Giuseppe Verdi il 16 dicembre 1899 e situata a Milano in piazza Buonarroti al civico 29. La Casa è di proprietà della Casa di Riposo per Musicisti - Fondazione Giuseppe Verdi alla quale il Maestro ne fece dono prima della morte. La struttura venne eretta in stile neogotico dall'architetto Camillo Boito, fratello del celebre musicista Arrigo, amico del Maestro Verdi. Nella cripta annessa alla Casa riposano lo stesso Verdi e la seconda moglie Giuseppina Strepponi.

Dal 1998 la Fondazione, per realizzare l'integrazione tra musicisti di diverse generazioni, ha provveduto a estendere la sua ospitalità, oltre che ai musicisti più anziani, anche ai giovani studenti di musica che siano meritevoli e bisognosi e che frequentino scuole di musica riconosciute nella città di Milano. La Casa è visitabile, con ingresso libero e gratuito, grazie alla collaborazione dei volontari per Il Patrimonio Culturale del Touring Club Italiano.

Alcune delle sequenze:
Le guglie del Duomo di Milano si vedono a malapena nella nebbia
in una cripta di questa casa di riposo è sepolto Giuseppe Verdi
il direttore Riccardo Pettinella dirige il coro che intona le note di Va' pensiero...
la tomba del musicista con una corona di fiori
fiction: due ospiti della casa di riposo ritornano dopo aver passato la serata a teatro
stanza da letto: ritratto di una giovane cantante lirica
costumi dell'opera Ballo in maschera appesi nella stanza
facciata della casa di riposo che si riflette sul bagnato
il pianista Cesare Boerio suona nel salone bellissimo, entra pian piano una donna, si tratta della pianista Concetta Abbate
un gruppo di musicisti commenta l'opera Manon Lescau, e l'interpretazione di Beniamino Gigli entrando nel salone della casa

Un cortometraggio prodotto dall'Istituto Nazionale Luce nel 1935 sul compositore italiano Vincenzo Bellini. Regia di Vincenzo Cavagna.

Alcune delle sequenze:
un ritratto ad olio di Vincenzo Bellini
le immagini scorrono sulle case e le costruzioni in sasso del centro antico di Catania
interno della casa dove nacque e abitò Bellini
l'Etna innevato
un bellissimo antico palazzo di Catania (Sangiuliano? Biscari?)
veduta di Napoli con il Vesuvio sullo sfondo
un disegno ritrae il colto di Maddalena Fumaroli, amata dal Bellini
veduta di Napoli
una via di Napoli
nubi in cielo mentre il sonoro trasmette un canto di Bellini, dedicato a Maddalena Fumaroli
una stampa d'epoca ritrae un edificio di Milano
l'ingresso di un palazzo milanese
interni sontuosi del palazzo
inquadrature della mobilia, degli affreschi, degli stucchi e di altri particolari decorativi soprattutto settecenteschi
dettagli di dipinti ad olio
un disegno d'epoca riproduce l'interno del teatro alla Scala
spartiti musicali di opere composte da Bellini
serie di disegni e incisioni d'epoca che raffigurano personaggi contemporanei di Bellini
pianista esegue un brano tratto dall'opera: "La straniera"
vedute e scorci di Villa Turina
il ritratto a matita di una giovane
la locandina dell'opera: "La straniera", rappresentato al teatro alla Scala
gli spartiti e i libretti dell'opera
la pianista esegue altri brani tratti dalle opere di Bellini
gli spartiti e i libretti de "La sonnambula"
la locandina dell'opera: "La Norma" rappresentata al teatro alla Scala
lo spartito musicale autografo di Bellini
un dipinto ritrae una giovane donna
rare immagini di repertorio dell' Ottocento che mostrano uomini e donne su un trenino a vapore che salutano
un disegno ritrae l'amico di Bellini che lo ospitò a Parigi
un disegno d'epoca ritrae il teatro dell'opera di Parigi
la pianista esegue un brano dell'opera: "I Puritani"
la tomba di Bellini

Composer: Umberto Giordano
Librettist: Luigi Illica
Premiere: 28 March 1896, Milan (La Scala)
Language: Italian
Translation(s): English subtitles
Andrea Chenier Synopsis: https://www.opera-arias.com/giordano/andrea-chenier/synopsis/
For Italian, French, Spanish and German Subtitles: https://rumble.com/v4ozua6-giordano-andrea-chnier-del-monaco-tebaldi-protti-capuana-la-scala-live-in-t.html

Andrea Chénier is a verismo opera in four acts by Umberto Giordano, set to an Italian libretto by Luigi Illica, and first performed on 28 March 1896 at La Scala, Milan. The story is based loosely on the life of the French poet André Chénier (1762–1794), who was executed during the French Revolution. The character Carlo Gérard is partly based on Jean-Lambert Tallien, a leading figure in the Revolution. It remains popular with audiences, though less frequently performed than in the first half of the 20th century.

The NHK (Nippon Hoso Kyokai) Symphony Orchestra
NHK Italian Opera Chorus &
Fujiwara Opera Chorus & Tokyo Choirs
Conductor: Franco Capuana
Live Performance, October 1, 1961
Tokyo Bunka Kaikan

Cast & Characters:
Andrea Chénier - Mario Del Monaco
Maddalena di Coigny - Renata Tebaldi
Carlo Gérard - Aldo Protti
Bersi - Anna di Stasio
The Countess of Coigny / Madelon - Amalia Pini
Majordomo / Roucher / Dumas - Silvano Pagliuca
L'incredibile - Antonio Pirino
Fleville / Mathieu - Arturo La Porta
Fouquier-Tinville / Schmidt - Giorgio Onesti

The work was first performed at the Teatro alla Scala, Milan, on 28 March 1896 with Evelina Carrera, Giuseppe Borgatti (who replaced Alfonso Garulli at the eleventh hour) and Mario Sammarco in the leading parts of soprano, tenor and baritone respectively. Rodolfo Ferrari conducted. Giuseppe Borgatti's triumph in the title role at the first performance immediately propelled him to the front rank of Italian opera singers. He went on to become Italy's greatest Wagnerian tenor, rather than a verismo-opera specialist.

Other notable first performances include those in New York City at the Academy of Music on 13 November 1896; in Hamburg on 3 February 1897 under the baton of Gustav Mahler; and in London's Camden Theatre on 16 April 1903 (sung in English).

Apart from Borgatti, famous Chéniers in the period between the opera's premiere and the outbreak of World War II included Francesco Tamagno (who studied the work with Giordano), Bernardo de Muro, Giovanni Zenatello, Giovanni Martinelli, Aureliano Pertile, Francesco Merli, Beniamino Gigli, Giacomo Lauri-Volpi and Antonio Cortis. Enrico Caruso also gave a few performances as Chénier in London in 1907. All of these tenors with the exception of Borgatti have left 78-rpm recordings of one or more of the part's showpiece solos.

Post-war, Franco Corelli, Richard Tucker and Mario Del Monaco were the most famous interpreters of the title role during the 1950s and 1960s, while Plácido Domingo became its foremost interpreter among the next generation of tenors, although Domingo's contemporary Luciano Pavarotti also sang and recorded the work.

A 1975 Film-ballet of the Mosfilm based on the famous production by Yuri Grigorovich to the music of Aram Khachaturian.

The work follows the exploits of Spartacus, the leader of the slave uprising against the Romans known as the Third Servile War, although the ballet's storyline takes considerable liberties with the historical record.

Khachaturian composed Spartacus in 1954, and was awarded a Lenin Prize for the composition that same year. It was first staged in Leningrad on 27 December 1956, as choreographed by Leonid Yakobson, for the Kirov Theatre of Opera and Ballet (Mariinsky Theatre), where it stayed in repertory for many years, but only with qualified success since Yakobson abandoned conventional pointe in his choreography. Yakobson restaged his version for the Bolshoi in 1962 and it was part of the Bolshoi's 1962 tour to New York. The ballet received its first staging at the Bolshoi Theatre, Moscow in 1958, choreographed by Igor Moiseyev; however it was the 1968 production, choreographed by Yury Grigorovich, which achieved the greatest acclaim for the ballet.

The revolutionary choreography of Yuri Grigorovich, as well as the performers of the main male roles, Vladimir Vasiliev and Maris Liepa, made this ballet immortal. Spartacus remains one of Khachaturian's best known works and is prominent within the repertoires of the Bolshoi Theatre and other ballet companies in Russia and the former Soviet Union.

Cast & Characters:
Vladimir Vasiliev as Spartacus, captive king of Thrace
Maris Liepa as Crassus, Roman consul
Natalia Bessmertnova as Phrygia, wife of Spartacus
Nina Timofeev as Aegina, concubine to Crassus

Choreography: Yuri Grigorovich
Libretto: Yuri Grigorovich, Vadim Derbenёv
Film Directors: Yuri Grigorovich, Vadim Derbenёv

Bolshoi Theatre Corps de Ballet
Bolshoi Theatre Orchestra
Conductor: Algis Žiūraitis

ACT I: The Roman consul Crassus returns to Rome from his latest conquests in a triumphal procession. Among his captives are the Thracian king Spartacus and his wife Phrygia. Spartacus laments his captivity and bids a bitter farewell to Phrygia, who is taken off to join Crassus's harem of concubines. To entertain Crassus and his entourage, Spartacus is sent into the gladiatorial ring and is forced to kill a close friend. Horrified at his deed, Spartacus incites his fellow captives to rebellion.

ACT II: The escaped captives celebrate their freedom. Meanwhile, Crassus entertains the Roman patricians with lavish entertainment. Spartacus and the other escaped captives disrupt the orgy and rescue the slave women, including Phrygia. Aegina insists that Crassus pursue the slave army immediately. The lovers celebrate their escape to the "Adagio of Spartacus and Phrygia".

ACT III: Aegina discovers Spartacus's camp and observes the lovers emerging from their tent the next morning. Aegina sends word to Crassus, who sends his army in pursuit. Internecine struggles break out among Spartacus's forces. Finally, Crassus's forces discover Spartacus and impale him upon their spears. Spartacus's closest followers recover his body and carry it off while Phrygia mourns her loss.

Synopsis: ACT II
When Ferrando learns that Dorabella has yielded to Guglielmo, he becomes yet more determined to win Fiordiligi's heart. Eventually, she too succumbs and a double wedding is planned - with Despina, again in disguise, as the notary. Just as the army is heard returning, the Albanian newlyweds disappear and Ferrando and Guglielmo appear in their place. Producing the marriage contract, they remonstrate with the sisters, who soon confess their deceit. After paying Alfonso his wager, Ferrando and Guglielmo forgive Fiordiligi and Dorabella.

Title: Così fan tutte, ossia La scuola degli amanti (Women are like that, or The School for Lovers)
Composer: Wolfgang Amadeus Mozart
Librettist: Lorenzo da Ponte
Premiere: 26 January 1790, Vienna (Burgtheater)
Language: Italian
Translation(s): English subtitles
Act II: https://www.bitchute.com/video/rH6n6fSZUcL8/

Costume & Settings: Mauro Pagano
Director: Michael Hampe
Recorded Live at Teatro alla Scala, 11 April 1989

Orchestra & Chorus of Teatro alla Scala
Chorus Master: Giulio Bertola
Conductor: Riccardo Muti

Cast & Characters:
Daniela Dessì: Fiordiligi
Dorabella: Delores Ziegler
Guglielmo: Alessandro Corbelli
Ferrando: Jozef Kundlak
Despina: Adelina Scarabelli
Don Alfonso: Claudio Desderi

Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Merchant of Venice and The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.

Synopsis: ACT I
Place: Naples
Time: the 18th century

Ferrando and Guglielmo are convinced of the fidelity of Fiordiligi and Dorabella, the two sisters to whom they are betrothed. Don Alfonso, on the other hand, claims all women are fickle and wagers that he can prove it. The young men agree to take Alfonso's test, and he tells the sisters that their husbands-to-be have been enlisted into the army. Once the men have departed, the sisters' maid Despina is persuaded by Alfonso to introduce two young Albanian friends (Ferrando and Guglielmo in disguise) to Fiordiligi and Dorabella. Each "stranger" then begins to court the other's fiancée, and they begin to make progress after pretending to take poison. Despina disguises herself as a doctor and successfully cures the Albanians.

Hedda is a 1975 film adaptation of Henrik Ibsen's 1891 play Hedda Gabler, written for the screen and directed by Trevor Nunn, and starring Glenda Jackson, Timothy West, Peter Eyre, Patrick Stewart (in his screen debut), and Jennie Linden.

Hedda Gabler dramatizes the experiences of the title character, Hedda, the daughter of a general, who is trapped in a marriage and a house that she does not want. Overall, the title character for Hedda Gabler is considered one of the great dramatic roles in theater. Hedda's married name is Hedda Tesman; Gabler is her maiden name. On the subject of the title, Ibsen wrote: "My intention in giving it this name was to indicate that Hedda as a personality is to be regarded rather as her father's daughter than her husband's wife."

This film was the first (and, as of 2023, the only) major theatrical film version of the play in English. Other productions of the play in English with sound have been made for television. Hedda earned Jackson her fourth nomination for the Academy Award for Best Actress, as well as a nomination for the Golden Globe Award for Best Actress in a Motion Picture – Drama. It was also nominated for the Golden Globe Award for Best Foreign Film. The film was screened at the 1976 Cannes Film Festival, but wasn't entered into the main competition.

Cast & Characters:
Glenda Jackson - Hedda Gabler
Timothy West - Judge Brack
Peter Eyre - George Tesman
Patrick Stewart - Ejlert Løvborg
Jennie Linden - Thea Elvsted
Constance Chapman - Juliane Tesman (Aunt Julie)
Pam St. Clement - Berthe

Nuovo cinema Paradiso (literally "New Paradise Cinema") is a 1988 French-Italian coming-of-age drama film written and directed by Giuseppe Tornatore. It was internationally released as Cinema Paradiso in France, Spain, the UK and the US. Audio in Italian with English subtitles.
Set in a small Sicilian town, the film centers on the friendship between a young boy and an aging projectionist who works at the titular movie theatre. This Italian-French co-production stars Philippe Noiret, Jacques Perrin, Leopoldo Trieste, Marco Leonardi, Agnese Nano and Salvatore Cascio. The film score was composed by Ennio Morricone and his son, Andrea, marking the beginning of a collaboration between Tornatore and Morricone that lasted until Morricone's death on 6 July 2020.

In 1988 Rome, Salvatore Di Vita, a famous film director, returns home late one evening, where his girlfriend sleepily tells him that his mother called to say someone named Alfredo has died. Salvatore shies from committed relationships and has not been to his home village of Giancaldo, Sicily in thirty years. As his girlfriend asks him who Alfredo was, Salvatore is not able to fall asleep and flashes back to his childhood.

Credited with revitalizing Italy's film industry, Cinema Paradiso has been cited as one of the greatest films of all time. The ending is considered among the greatest endings in movie history.

It was a commercial success, and won several awards, including the Academy Award for Best Foreign Language Film and the Cannes Film Festival's Grand Prix. It was nominated for 11 BAFTA Awards and won five; including Best Actor for Philippe Noiret, Best Supporting Actor for Salvatore Cascio, Best Original Screenplay, and Best Foreign Language Film, a record for a foreign language feature until it was broken by All Quiet on the Western Front in 2023.

Cast & Characters:
Philippe Noiret as Alfredo
Salvatore Cascio as child Salvatore Di Vita
Marco Leonardi as teenage Salvatore
Jacques Perrin as adult Salvatore
Agnese Nano as Elena Mendola
Brigitte Fossey as adult Elena (extended cut only)
Antonella Attili as Maria Di Vita
Pupella Maggio as old Maria
Enzo Cannavale as Spaccafico
Isa Danieli as Anna
Leopoldo Trieste as Father Adelfio
Roberta Lena as Lia
Nino Terzo as Peppino's father
Leo Gullotta as the Usher
Tano Cimarosa as the Blacksmith
Nicola Di Pinto as the Village Idiot

Cinema Paradiso was shot in director Tornatore's hometown Bagheria, Sicily, as well as Cefalù on the Tyrrhenian Sea.

- DOCUMENTARY SEGMENT: Between 1788 and 1790, Mozart and his wife Constanze suffered from precarious finances and the tragedy of the death of young children; only two of the five children born to them during their eight-year marriage lived to adulthood. With Constanze in fragile health from her pregnancies and taking the waters at Baden, Mozart spent 1791 – the final year of his short life – in Vienna, working to make ends meet. Spending on the arts there had declined, but Mozart earned enough to stabilize his family′s financial situation, although it remained precarious. With his own health in decline, visiting Constanze in Baden every weekend, Mozart wrote some solemn works during the year, such as the Requiem Mass in D minor, K. 626, which he never finished; it was performed at his funeral. But he also wrote lighthearted music, such the fairy-tale opera The Magic Flute, and his final piano concerto, Piano Concerto No. 27 in B-flat major, K. 595, an uplifting work that used the same melody as a children's song about a little boy wishing for the coming of spring. Music performed during the documentary includes portions of The Magic Flute by László Polgár (as Papageno), Ibolya Verebics (as Pamina), and the Symphony Orchestra of the Hungarian Radio and Television, Budpaest, conducted by Wilhelm Keitel; of the Quintet in A major for Clarinet and Strings, K. 581, by Otokar Bretšneider (clarinet) and members of the Talich Quartet; and of Piano Concert No. 27 by Aleksandar Madžar.

- CONCERT SEGMENT: Piano Concerto No. 27 in B-flat major, K. 595, performed by Aleksandar Madžar with the Royal Philharmonic Orchestra conducted by André Previn, recorded in the Grosse Galerie ("Great Gallery") at Schönbrunn Palace in Vienna, Austria.

- DOCUMENTARY SEGMENT: By 1790, Mozart had visited Munich eight times – it usually was the first large city he passed through on his journeys and thus served as a way station for him, and his piano performances and works always were popular in Munich – but had never secured steady employment there. Munich saw important performances of many of Mozart′s works, including the world première of his 1775 opera La finta giardiniera ("The Pretend Garden-Girl") and of his 1781 opera seria Idomeneo. He played his 1788 Piano Concerto No. 26 in D major "Coronation," K. 537, at the coronation of Leopold II as Holy Roman Emperor in Frankfurt-am-Main in September 1790 and played it for the King of Naples, Ferdinand IV (1751–1825) in Munich on his way home. A noteworthy aspect of the written version of the concerto is that it does not contain all the notes of the solo part, preventing dishonest copyists from distributing the work without proper payment. In many of his piano works, Mozart expected pianists to understand what he wanted them to play from a musical sketch which required them to improvise the necessary harmonies, sometimes by sight. To this day, the "Coronation" concerto is played in this way, sometimes using cadenzas recommended by the composer or other authorities and sometimes with the individual pianist using his or her own interpretation. Music performed during the documentary includes portions of La finta giardiniera by members of the Choir of the Hungarian National Opera, Budapest, and the Symphony Orchestra of the Hungarian Radio and Television, Budpaest, conducted by Wilhelm Keitel, and of Divertimento No. 15, K. 287, by the Chamber Ensemble of the National Theatre, Prague.

- CONCERT SEGMENT: Piano Concerto No. 26 in D major "Coronation," K. 537 with cadenzas by Edwin Fischer, performed by Homero Francesch with the Deutsche Kammerphilharmonie Bremen ("Bremen German Chamber Philharmonic") conducted by Gerd Albrecht, recorded in the Christian Zaiss Saal ("Christian Zeiss Hall") in Wiesbaden, Germany.

Episode 13: https://www.bitchute.com/video/TNZUh08m7Nm3/

- DOCUMENTARY SEGMENT: Austria's Emperor Leopold II traveled to Frankfurt-am-Main in early October 1790 to be crowned Holy Roman Emperor. Left out of the Viennese court's official delegation, Mozart paid his own way to travel to Frankfurt-am-Main in the hope of making money by performing concerts. However, he was left out of the musical activities related to the coronation entirely, and instead of Mozart receiving a commission for an opera, the opera Axur, re d'Ormus by Antonio Salieri (1750–1825) was performed as part of the coronation festivities. By the time of the coronation ceremony on 9 October 1790, Mozart had done little to compose new music or make professional contacts among the dignitaries attending the festivities. In the end, Mozart finally gave a concert on 15 October 1790, after the newly crowned emperor and most other officials had left the city. The concert, which included performances of Piano Concerto No. 19 in F major, K. 459, and Piano Concerto No. 26 in D major "Coronation," K. 537, was not a commercial success. Music performed during the documentary includes portions of Piano Concerto No. 19 by Radu Lupu with the Deutsche Kammerphilharmonie Bremen ("Bremen German Chamber Philharmonic") conducted by David Zinman; Piano Concerto No. 26 with cadenzas by Edwin Fischer, performed by Homero Francesch with the Deutsche Kammerphilharmonie Bremen conducted by Gerd Albrecht; and Antonio Salieri′s opera Tarare with Anna Caleb as Spinette,Jean Pierre Lafont as Atar, and the Radiosinfonieorchester Stuttgart ("Stuttgart Radio Symphony Orchestra") conducted by Jean-Claude Malgoire.

- CONCERT SEGMENT: Piano Concerto No. 19 in F major, K. 459, performed by Radu Lupu with the Deutsche Kammerphilharmonie Bremen ("Bremen German Chamber Philharmonic") conducted by David Zinman, recorded in the Sophiensaal in Munich, Germany.

Episode 12: https://www.bitchute.com/video/ha4LjVtSXiBE/

- DOCUMENTARY SEGMENT: In 1787, Mozart received an invitation to Prague to conduct his opera buffa The Marriage of Figaro. The opera was a smash hit in Prague, and led to Mozart receiving a commission to compose the music for his opera Don Giovanni to a libretto by Lorenzo da Ponte (1749–1838). Music performed during the documentary includes portions of Symphony No. 38 in D major "Prague," K. 504, by the Deutsche Kammerphilharmonie Bremen ("Bremen German Chamber Philharmonic") conducted by Gerd Albrecht; Don Giovanni, K. 427, by István Gáli (as Don Giovanni), Zsuzsanna Dénes (as Donna Anna), László Polgár (as Leporello), and the Symphony Orchestra of the Hungarian Radio and Television conducted by Wilhelm Keitel; Piano Quartet No. 1 in G minor, K. 478, by the Ars Quartet; and 6 German Dances, K. 509, by the Chamber Ensemble of the National Theatre, Prague.

- CONCERT SEGMENT: Piano Concerto No. 23 in A major, K. 488, performed by Zoltán Kocsis with the Virtuosi di Praga conducted by Jiří Bělohlávek, recorded in the Rittersaal ("Knight′s Hall") of the Wallenstein Palace in Prague, Czechoslovakia.

Episode 11: https://www.bitchute.com/video/77yBlFjo46lc/

- DOCUMENTARY SEGMENT: In Vienna in 1786, Mozart composed the opera buffa The Marriage of Figaro. Mozart and his librettist, Lorenzo da Ponte (1749–1838), based it on a satirical political play by Pierre-Augustin Caron de Beaumarchais (1732–1799), which was banned in the Austrian Empire. Although not as politically charged as Beaumarchais's work, The Marriage of Figaro nonetheless satirized the aristocracy and their relationships with their servants. It also broke new ground in opera in its three-dimensional treatment of its characters, its exploration of their sexual attractions to one another, and in its use and style of music, which departed from previous operatic conventions in many ways. Thanks to these qualities and to the palace intrigue and social politics that tended to determine musical success or failure in Vienna, the opera premiered in Vienna on 1 May 1786 but closed after only nine performances, receiving a mixed reception. Shortly after its premiere, however, connoisseurs of music in Prague invited Mozart to attend a performance of the opera in Prague, where it premiered in December 1786. In Prague, The Marriage of Figaro achieved tremendous success. In 1789, The Marriage of Figaro was revived in Vienna, cementing its place in the Mozart repertoire. Music performed during the documentary includes portions of Piano Concerto No. 24 in C minor, K. 491 – which Mozart composed in 1786, a few weeks before the world premiere of The Marriage of Figaro – performed by André Previn with the Royal Philharmonic Orchestra conducted by Previn; The Marriage of Figaro by István Gáti (as Figaro); Der Schauspieldirektor ("The Impresario"), K. 486, by István Rozsos (as Buff), Ingrid Kertesi (as Madame Herz), and Katalin Farkas (as Madame Silberklang); and Antonio Salieri′s (1750–1825) Prima la musica e poi le parole ("First the music and then the words") by Mária Zempeléni (as Tonina) with the Symphony Orchestra of the Hungarian Radio and Television conducted by Wilhelm Keitel.

- CONCERT SEGMENT: Piano Concerto No. 24 in C minor, K. 491 with cadenzas by André Previn, performed by André Previn with the Royal Philharmonic Orchestra conducted by Previn, recorded in the Grosse Galerie ("Great Gallery") at Schönbrunn Palace in Vienna, Austria.

Episode 10: https://www.bitchute.com/video/FfHBJi9HF2oO/