Learn how and why Ancient Rome, Greece and Egypt were invented during Renaissance


624 pages,
446 illustrations




Italian operas composers free music downloads

Italian operas composers free music downloads






Verdi - Il Trovatore
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Falstaff
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Italian Composers

All "ancient" egyptian horoscopes and mummies are mediaeval fakes?




Learn how and why Ancient Rome, Greece and Egypt were invented and crafted during Renaissance. Discover the Old Testament as a veiled rendition of events of Middle Ages written centuries after the New Testament. Perceive the Crusaders as contemporaries of The Crucifixion punishing the tormentors of the Messiah. What if Jesus Christ was born in 1053 and crucified in 1086 AD?

Sounds unbelievable? Not after you've read "History: Fiction or Science?" by Anatoly Fomenko, leading mathematician of our time. He follows in steps of Sir Isaac Newton, finds clear evidence of falsification of History by clergy and humanists. Armed with computers, astronomy and statistics he proves the history of humankind to be both dramatically different and drastically shorter than generally presumed.



   View opera MADAMA BUTTERFLY


Mirella Freni and Placido Domingo
in Jean-Pierre Ponnelle's beautiful opera film

America! (Pinkerton)
Duetto Cio-cio-san, Pinkerton
Aria Cio-cio-san (fiore)

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   View opera LA BOHEME


Jose Carreras and Teresa Stratas
in Franco Zeffirelli's stage production

Che gelida manina (Rodolfo)
Duetto Mimi, Rodolfo

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   View opera LA TRAVIATA


Placido Domingo and Teresa Stratas
in beautiful opera film by Franco Zeffirelli

Libiamo... Violetta, Germont
Bollenti spiriti (Germont)
Finale II act

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  • Early Italian Opera

  • Opera seria

  • Opera buffa
  • Reform opera

  • From Rossini to Verdi

  • Verismo and Puccini
  • 20th century

  • Gioacchino Rossini

  • Giuseppe Verdi
  • Early Opera


    ...
    Early opera had involved madrigals, dramatic monody and set songs, or a mixture of these. As the 17 th century went on, there developed a gradual distinction between recitative and aria. The first of these, lightly accompanied often simply by chords, follows the rhythm and stresses of speech without the formal structure of a melody. Recitative, in fact, is dialogue set to music. The aria is a song, often in a form that frames a middle section in identical outer sections, the second of which might be ornamented by the singer. While the plot may be carried forward by the recitative, the aria tends to embody one state of mind. Both had an important part to play in what followed, although audiences tended to pay more attention to arias and much less to recitative, which seemed tedious.

    Opera Buffa


    In the 18th century there was a parallel development of what was later known as opera buffa (comic opera). This had its roots in the ancient Roman comedy of Plautus and Terence and this in turn had been derived from ancient Greek New Comedy. Features of these were stock characters, comic and cunning servants, angry and parsimonious fathers, passionate lovers, amorous daughters and bragging soldiers. With them came a preoccupation with what was recognisable as ordinary life, however simplified. Another source of Italian comedy was found in the associated improvised theatre of the commedia dell'arte , with its similar array of stock characters. Opera buffa corresponded to contemporary spoken drama and opera texts owed a great deal to the work of the playwright Goldoni. Oddly enough, the earlier historical process was now reversed. In the 17 th century tragedy had acquired comic elements. Now serious characters began to find a place in comic opera, which became less comic and more realistic. These more dramatically credible plots found a place in Italian operas such as those written in Vienna by Mozart and his librettist Lorenzo da Ponte and their contemporaries.

    Reform Opera


    Serious Italian opera, again at first in Vienna, underwent a marked reform with the work of Gluck and the librettist Calzabigi. Between them they succeeded, largely under French influence, in introducing simplifications. The formal requirements of the old opera seria were reduced, allowing a greater degree of realism. Gluck, in fact, claimed that he made music the servant of poetry, never introducing novelties or distractions from the dramatic situation. He explained his principles clearly in his introduction to the opera Alceste, published in 1768. These had already been put into practice in 1762 with his version of the story of Orpheus, Orfeo ed Euridice (Orpheus and Eurydice).



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